kidzrevil

Anything Russian for starters. Think: Zenit Helios, Jupiter, Industar, MIR, TAIR, et cetera. If you want something else special, try the Tomioka Auto Revuenon 55mm f/1.2. If you want soap bubble extravaganza try some of the original Optik Meyer Görlitz lenses (Trioplan, Domiplan, Orestor, Primotar, Lydith). Of course there's tons of others you could look at. There are a lot of dirt cheap nice Vivitar lenses out there, don't forget to check out the Carl Zeiss Flektogon line-up either. But I'd start with the Russians for sure.

Exactly.
Yes. Let me cite myself from the german thread, translation by Google :
An ambitious short film project I've been preparing for almost a year now wouldn't profit much of HDR, thankfully. But I have another one, a comic short on the agony of the dying, and this one would. Will then probably borrow an Ursa Mini to shoot the (few) scenes in raw. And I hope by then HDR monitoring for grading will have become more easy and affordable.
I wonder why Andrew Reid doesn't seem to be very interested in HDR. His videos are so 'impressionistic' and 'poetic' ...

Meanwhile on Germany's huge slashCAM forum. Started a controversial HDR thread there - the first one, apart from one guy who asked how best to achieve a working Youtube upload. Very few fans there as well. The usual suspects, like here. Said HDR would change the way films were lit and framed (finally understanding the vanHurkman thoughts). Was baracked. HDR was for nature docs and candy ads, not suitable for serious storytelling. Wrote, what about *light*? There is no light in SDR, only it's faint reflection. Answer (by a pro DoP): that's enough, brightness is relative. HDR is a gimmick like 3D was, and it will disappear just the same, get over it ...
Another article in the news section: UHD TVs bigger than 50" came to 40% of all houses in Germany in 2017, AUO announces 8k TVs for 2018 and projects 10% market share within two years ...

@kidzrevil cool thanks bought a 6500 instead

@Kisaha I agree with you. But please let's not compare color science between manufacturers! IMNSO people tend to understate this important aspect of making pictures. Just sayin' : )
FF look or similar is nothing but also a full combination of lots of aspects, optics included. Add an inexpensive f/0.95 Mitakon, only as an example, and you'll have it on APS-C format as you well know it :-)

It's a bit salty. 
Apparently this camera has caused quite some controversy here. I'm not sure any camera, or "thing" is quite worth all the shade that's been thrown around on this topic. You either like this camera, or you don't, or are unsure or indifferent. I'm not sure what all the fuss is really about. My guess is something underlying. 

Now you are just trying to make sense Kidz! What camera you shoot that video on. Looks damn good.

I really don't think Any camera, from a Arri to a GoPro, has no noise, even at low ISO on walls. I guess it has to do with digital signals. Bayer stuff, who knows.

Good to know. Even Resolve’s default Rec709 settings look pretty good with ML Raw footage for a quick turnaround to ProRes and a simple grade in FCPX... or Premiere in your case. 
As I said on IG, right now I’m just messing with footage while I shoot it but when I get closer to the editing stage I really need to get more serious about color and since I am just a tinkerer now, I am contemplating an ACES workflow... we’ll see... I’m pretty impatient. lol. 

Dave Dugdale proved me with this video that 10 bit is a fairy dust if you are a run＆ gun shooter, wedding cinematographer or you are in love with architecture cinematography. 
I have never faced banding issues with 8 bit codec, and if you are shooting with correct WB you don't have to twist your footage till it breaks. And if it breaks it's probably because of the 100Mbps bitrate and not the 8 bit...
I think for most cases 10 bit gives you just a little more advantage over 8 bit if you nail your exposure and WB.
And i have worked with BMPCC in ProRes/RAW and with 5D RAW before.
It seems like the next big think is shooting in HLG with 8bit which works perfectly fine.

Well I guess if you are Really good at exposure, proper lighting, not shooting into the sun, etc, 8 bit works. It has somehow worked for many years,
But in a professional venue they have every base covered. Better cameras, great cameramen, great audio, great lighting, great graders, great editors, great actors, on and on.
So it is hard for the average person to compete with the Pros, but now I think the gap has been closed a Lot. But you are not going to do Green Screen, VFX effects in 8 bit very well.
But I think we beat ourselves up too much anymore on output quality. I am not saying to not try as hard as possible to achieve it, but at the cost of always being in debt, worrying about it all the time Bah I say.
Look back how bad 8mm cameras were, super8 even. Nobody said damn that sucked. They were happy to see what had been shot, not complaining about the quality. And I would imagine most of the people that watch videos have no clue what 90% of the problems we piss and moan about even exist. I would say the most important thing that drives me crazy is poor Audio, not poor video, in a short or a long. And other than one person on here, we rarely ever even talk about that subject.

I can see why ppl would be attracted to HDR technology. Colors pop like no one's business. It creates a rich viewing experience, as opposed to simply watching something. And I'm all about the tech and propelling the industry forward and questioning those old conventions that were perpetrated on misconceptions. 
That being said, I'm on the fence. Is it possible to create a film that's so vivid and rich in detail and color that it takes your audience right out of the story?
I'm not sold yet that this is a good platform for narrative work. For advertising, it can't come soon enough. This is going to make product shots absolutely pop and scream "buy me immediately". 

@kidzrevil lookin good man, i thought youd like ml raw. its such a nice thick image to work with
how are you doing the upscale? what was so time consuming im scared lol

great looking footage, loving the results with your set up

can confirm upscale looks mint on a 4K 43" monitor, digging the grade too
 

I shoot vertical video when creating content that is specifically aimed for social media (either instagram or Facebook).
I did a series of videos for the San Diego Chargers, and after doing a couple square videos and traditional widescreen 16:9, the square ones got more interaction on Facebook.
I find this to be the same case on Instagram, where a vertical video takes up more real estate in the feed and thus demands more attention. For Instagram feeds though, video can only be 5:4 not 16:9. or you can go square of course.
Several people I follow have gone from shooting standard youtube vlogs to shooting just for Instagram stories, and walk around with vlog setups but have the camera vertical (https://www.instagram.com/jessedriftwood/ probably being the best example). I've shot a couple videos like this while on trips and some commissioned work for music festivals, but it's just kind of a bummer that all the footage can only be used for one specific purpose. It obviously looks awful if you try to share vertical video anywhere on the web.

^ looks great

The advantage with vertical shooting is that people's expectations are much lower and it's much easier to stand out among other vertical videos. I have shot some vertical videos (with a proper camera) for facebook, and I would definitely recommend it for short facebook content.
Most people keep their cell phone vertical while watching video on their cell-phones (except for netflix perhaps), but whether you should film vertically or not depends on how well the app which the video will be played from supports vertical resolutions. As an example, YouTube supports vertical videos well in full screen mode, but people watching it on their phone will most likely either turn it horizontally it for full-screen, or watch it vertically with comments underneath, which would remove the whole point of filming vertically. 

Human nature wouldn't you say?
I think some of you need to remember change does not come easy for everyone. In fact, we are part of an industry that is considerably hostile to and is currently going through a lot of growing pains, especially at the upper echelons of the business chain. It's uphill all the way, but berating people into change is never a good idea. It just gives them more reason to remain hostile and indoctrinated. 
At the end of the day, no one interested in image performance is going to reject more dynamic range. But everyone comes into that differently. 

Fair enough. I hope you don't think I was being adversarial, I was genuinely curious. 

@kidzrevil How are you upscaling to 4K? Was this covered already and I missed it? Is it something that Neat can do? Thanks and sorry if this is a dumb quesiton(s)

Blown away by the codec...
This shot had some serious underexposure going on.
At least 3 stops head-room in the highlights.
Brought the shadows up in Premiere and remapped to 16-235 (Fast Color Corrector)
There's almost zero signs of compression in the shadows!! Which came up from invisible.

Neat Video is THE defacto industry noise reduction plugin worth every cent they charge for it. I would rather purchase Neat Video than buy another LED light. 
My process is to first run an instance of Neat Video, than grade the footage, then add a very subtle instance of noise to further help with dithering. In most applications, I don't need the noise instance to help smooth out banding and artifacts because Neat Video takes care of most, if not all of it. The noise layer is mostly psychological for me because that's how I took care of business before Neat Video came along. I seriously doubt a manufacture could script a NR algorithm in-cam on the fly with the power the NV delivers. 

No. Personally, i find tricky shooting log on small 8-bit cameras with 3" displays and no proper exposure tools. Also certain types of jobs (interviews, run & gun etc) just don't warrant the time/budget or even necessity for extensive color grading. Not to mention not everyone has got years of color grading skills/experience despite the tools basically being free today..
This is when great color science, white balance, highlight roll-off and Fuji's film simulations & image settings come in useful for getting deliverable SOOC footage.
 
Do keep in mind people shooting on ARRI, RED, BMDs etc most often have expensive cine glass, lighting and DOP skills than the sub-$3K camera shooters.
Then you gotta factor in shooting Raw or ProRes on an optimized Super35 sensor at ideal base range ISOs.
Having intra-frame compression vs inter like on most sub-$3K cameras also helps leagues in motion. This is where 1DC,1DX2,5D4 shine imo.
 
 

Maybe the best clip for argument of manufacturer mastery - from Fuji corp. itself.
But, for me at least, also and best exmple for my judge: translating result of photo-optimized color science to serious movie area is not 1=1 solution. While every shot looks noticable beautiful to the hyperrealistic level - after a while for me it becomes distracting, or even disturbing. It keeps to much attention to itself, to shine colors, and drain attention from the flow of the fable... Sorry for pathetic formulation, but I think we don't see world as vibrant as Fuji tries to suggest.... For fast shots, for any sort of presentation tending to fascinate - it works without doubt and it is very nice achievement. But for involving spectator into the world - not: this type of color strategy cries "Look how nice it looks!" - and keep you maybe mesmerized, but - outside.