Geoff CB

FS5 if you need 4K, use Shogun to get 10-bit compressed version of the raw stream. Main option unless you go $10,000+ for a complete package.

If your doing that many weddings C100 Mark 2 or FS5. I would lean towards the Canon. Light files, great image, great low light. That camera was meant to shoot weddings. FS5 has that fantastic auto ND filter and you can use a speedbooster though. Do not ever shoot without internal ND on weddings, dealing with external ND's are a pain in the ass when you have to move from indoor to outdoor quickly.

tupp is 100 percent correct. Had an older friend I invited to shoot BTS stills, he had said he had been on sets before. It must not have been many. He walked right up to the director in the middle of shooting and asked what the scene was about. He was kicked off set, I will never even mention his name to the director again. I don't talk to him anymore either, it was an important shoot day and he cost us time and my reputation took a hit. Don't screw around, don't talk to the director, do your job. Or you will never work on that crew, or any of the crews that those people work on, ever again. On film school: I echo what others have said, go to make connections for the future. Do not expect to walk out of film school and be directing features right out of the gate.

Nice, would maybe be useful in a wedding situation though... Thanks for posting the footage. Just like the D750 image, very clean with a great organic noise. If the D760 offers 4K full frame like this I will have to buy it. D500 crop is just not worth it for me right now.

Makes me want to rebuy a NX1. Well done. Love Porto!

Andrew is talking about panasonic's stabilization, not Sony's. Though I do prefer the Full frame stabilization on my A7r II over the Super 35 stabilization, which seems to act more aggressive. May also be a side effect of the poor rolling shutter in Super 35 mode compared to FF.

"Likewise when I invested – key word invested – in the A6300, had I known Sony would roll out the A6500 a few months later I would never have spent money on it. One should rarely wait to buy the tool you need, because there’s forever something newer round the corner, but it seems like every 6 months Sony make your last purchase a complete waste of money." 1) Oh COME ON. For two years you were yelling at Canon for not innovating. Now that they finally update your yelling at Sony for innovating to much with fast refresh cycles? 2) Cameras are not an investment in terms of resale value, camera's are in an investment into your art/business. I've grown very tired of base Canon profiles ( C-log is excellent however). They are excessively warm, not true to life at all. Which is great if your shooting weddings all the time, but not all subjects are served with that type of color. I find your comparison completely false. The Canon is using your custom profile GRADED and the Sony is using Standard, ungraded, and obviously underexposed! But most of all, no mention of the IBIS and excellent viewfinders on the High-end Sony camera's?? I could never go back to only using the rear LCD, a non-tilting one at that!

I have the lens and it is great when you want that soft cinema look, but it is terrible with light sources in the frame. Good for commercial work it is not. Wanted to show everyone this. Recorded a interview entirely with a Voigtlander 40mm and SLR Magic Anamorphot. Think at least visually it turned out well, used stabilization a bit to excessively.

Seriously, just give me the camera and I'll buy it.

Why do final color in Lumetri? Why not use resolve? Also, I don't really understand what your trying to do. Are you trying to grade some files in Resolve and you want those grades automatically applied in Premiere?

People tend to forget the reason a lot of FCP7 users switched to Premiere around that time (including me). It wasn't that people were scared of the new type of editing. It was the fact that on the day FCPX came out, Apple completely dropped support for FCP7, including not allowing new copies of the software to be sold, dropped multicam editing (If you do broadcast work, this was like saying the program didn't support editing) , and didn't allow existing Final Cut projects to be imported into it. At the same time this happened, Adobe took advantage of a great opportunity. They halved the cost of Premiere for anyone switching ("Just use code "Switch" at checkout"), and allowed FCP7 projects to be imported in Premiere. In one move, the industry changed.

By cherrypicking examples. Get over it, some software/hardware will not work on older operating systems. This is a fact of the industry.

I've been very surprised by how well the codec holds up to a grade from my A7r II. Glad to see things like this that show I don't need to buy extra gear to get a great image, and I can just invest in a better support monitor, rather than external recorder. It may be worth it for a feature film, but for everything else it is overkill.

I've recently made the switch to Resolve. Just to many small problems with premiere over time that I got sick of dealing with. The crashes, the rendering errors (certain codecs render only with CPU, H265 renders in the wrong range, etc. ) and just the disorganization of basic tasks just have driven me away. I agree that they need a full re-write of the software. I'm doing my audio edits outside resolve now though, hope that's the next part of the software they upgrade, as it's the one thing I think that Resolve lacks in comparison to Premiere.

Stretch a stocking/pantyhose around the rear element and you will get a softening effect without the flares.

Great thread. Also looking for as many resources on this as possible.

Razor sharp 2.5K > Bad compressed 4K

Some of those were probably features that turned into shorts in the editing room. Worked on a really indy film (no pay) that was supposed to be a feature, after editing it was 48 minutes. Killed the director to have it be that short.

Any connection you make will be valuable. I just filmed a short for a great director. I had no idea he used to make movies as a director in L.A. and had taken a break to raise his sons by owning a restaurant, where my wife happened to work. We met, chatted, he saw one of my shorts and loved my camera work. I fell into a great working relationship, hopefully shooting a feature with him next year. Don't scoff at what you see on display there. If you see someone's else's work that you enjoy chat with them, you never know what might come from it.

I hope they use the same sensor, it should be simple to get a 4K readout from it.

**** this discussion. Every time it's brought up people argue about it endlessly.

Seriously, if you want a camera just for low light alongside the NX1, get at D750.

Unless you shoot them wide open almost nobody would be able to tell the difference unless they were looking for it. Even if you do shoot them wide open, most audiences would not notice, though people on this board probably would. A7r II Super 35 mode with 28mm Voigt A7r II Full Frame mode with 40mm Voigt

If your willing to go 1080p and Nikon, I agree with the D750. It's photo AF can practically see in the dark. It's low light video is close to the a7s. And for the cost of a 5D 4 you can buy a used D750 and a few excellent lenses. I own the a7r II, it's low light AF is not impressive. It's image quality definitely is incredible. But it's cost with a decent lens is hitting $4500+ Also as always RENT before you buy if possible.

Hey guys Keh.com has an insane deal going on right now on old lenses 25% off everything.