Grimor

My last:
Kowa+Nocticron+Rectilux (who the hell put those names to the optics??)??

I heard my name and *poof!*
It's not that I don't like the look of the Hypergonar (that's of my most eye-pleasing tests), but all the hassle that comes from bigger setups. Not just from Hypergonars, but the whole big projection scope lot.
I'm a weakling - aka I don't do too well carrying a lot of weight - and I don't like how long the setups get. Attached is a photo I took of the setup for that video. This is the Contax 135/2.8 behind the Hypergonar, and the FVD is at the front of the system for single focus. I don't realistically see myself shooting something with that. I fear it'd snap at the mount, or be impossible to balance on a tripod/shoulder rig.
Then I don't like how narrow the FOV gets, forcing you to telephoto taking lenses.
If not properly rigged and supported, you end up getting some angle on the lens itself, shifting your focus plane and rendering weird out-of-focus areas that shouldn't exist.\
I also get what @Julien416 is saying about me being bothered by projection scopes. I tested a lot of them. For three years every week almost. So we built this weird relationship in which their flaws started to really get on my nerves. There are a few exceptions and surprises out there, but the hassle just makes it unbearable for me. On top of that, I'm on the cusp of getting a set of LOMO squarefronts, which changes the game completely for me.
I shoot a lot of low-budget indie stuff in which the shooting itself is ALWAYS in a rush, so adding an element that's time consuming and not everyone can understand gets immediately pushed aside (which is why most of what I shoot is NOT anamorphic and I want to change that).

My last:
Kowa+Nocticron+Rectilux (who the hell put those names to the optics??)??

For anyone else reading this who is looking for an external preamp and wants more features than the headphone amps as previously mentioned (I wanted a -20dB safety track), my advice would be that if you only want a single shotgun mic to just get a Rode VMP instead of mucking around with those external mic-preamps.
I bought the Beachtek Dxa-Micro-Pro to use with my XC10 and Rode Video Micro and to keep the setup small and flexible.  I didn't want to be buying disposable 9V batteries for it all the time (both for cost as well as environmental reasons) so I did the research and got the biggest capacity rechargeable 9V batteries, didn't know how many batteries it would use but I figured it was more than two a day so searched the earth for a 9V charger with more than two slots.  
I was getting battery life of sometimes only 15 minutes, sometimes more, but I didn't know if it was the Beachtek, the batteries, or the charger.  I did tests and kept notes by recording time lapses with my phone that included a clock.  The battery shop blamed the charger so I bought one from them and discovered it wasn't the charger.  Then I found some anecdotal accounts of what the battery life was and realised that I was getting about what I should have been.  What I didn't know through all this was that the battery life on this thing is abysmal, and this was even without it sending phantom power to the XLR.  The Rode VMP+ gets something like 19 hours from its single rechargeable battery, and I was getting something like an hour or two.  So, for my shoots I would have to have been carting around maybe half-a-dozen batteries, a large charger, and the Beachtek.
In the end I just bought a VMP+ and had a smaller, lighter, simpler setup that I don't have to fuss with, and it charges over USB!

Well, i store anamorphic and taking lens rigged together with rods and supports. And this way i really dont move it so much.
You can see i use 2 long lens supports: one blocks the taking focus and the other one block anamorphic aligment and focus.

How about you post the issue and your fix for someone else to find in the future if they encounter it again? 

Colors look very pleasing at first sight. The only thing I was truly hoping for was a 4:3 video  mode so I can adapt my 2x anamorphic setups in s35 crop mode. According to brand ambassador Jacob James there's no 4:3 with the current FW. If they will implement a 4:3 mode with supported IBIS like in the gh5 I might be aboard. If it can do 4/6k in photomode at 30fps 4:3 I don't see why anamorphic wouldn't be possible with a FW update. 

Compared to the Sennheiser UHF stuff the Sarmonics are way cheaper but its more or less the same against this Sennheiser 2.4gHz system is what I was referring to.
The XSW-D ENG kit has the lav and transmitter, the XLR transmitter and one receiver. Adding an additional receiver brings the whole kit up to around £400 which is the same amount to have the equivalent twin channel Saramonic UHF setup.
I think for an awful lot of people with only a £400 budget for a new wireless setup for a DSLR etc this Sennheiser 2.4gHz system is going to be by far the better choice.
I've got a Saramonic system and, yeah, well...its OK but I w ul  t w n o r ly on  t fo  pa d w rk
Apologies for the dropouts there  

I'm going to have a proper look at these at the BVE show in a few weeks.
On the basis that Sennheiser won't have invented their own battery, I think it is highly, highly likely that it uses one of the two battery types that I put on the previous page.
Looking at some higher res images, I can see the join in the case where it can be opened so, erm,well,you know, maybe I will be able to be to give a more definitive answer to a battery swap....
 

I agree! that is the point.
 
Depending the set, and the budget of the project. Sound equipmemt for a feature film can be a lot of dozens of thousands. Even my equipment worths more than 10.000€, easily. One needs also a lot of specialized accessories and the such which add up considerably.
416 is not even near the top of mics anymore. It is a good staple, I love mine, but there are a lot of better mics out there, and different ones, depending the job. It is my #1 choice for harsh weather documentaries though.
I bet all have similar quality, more important is placememt and what mic capsules one uses. DPA and Sanken are some of the best in business, which one capsule costs almost twice than this system!

All the Sony FF cameras have the crop mode which ends up a 1.5 crop, just like their APSC cameras are. That way you can use the E mount lenses on the FF stuff which are called FE lenses. And that works out to be pretty close to s35.
And Real Cine cameras are All over the place in what they call s35 if you look at the graph below. So digital cameras wise anything goes for s35. The Canon C100, C300, C500 which by the way all use the same sensor, is one of the Few cameras that are really the old film dimensions in the modern era.

Whats that ?
You want to be able to wirelessly view the live video feed from the Pocket 4K while controlling it like you can with all those other cameras?
There is no app that can let you do that with a Blackmagic Cam....
Oh.

Don't drag me into it
99% of my time with this camera has been spent writing a controller for it rather than using it to make actual images so I can't really chime in with anything anywhere near authoritative on it as yet.
I'm watching this closely though, as if enough consensus builds then I might actually add an option to interactively lock the ranges so that if you go from ISO1000 on the camera or the app it automatically goes to ISO3200 instead of ISO1250 and the same on the way down from ISO3200 to ISO1000.

Has there been any word when the P4K will be fully released. Admittedly, I haven’t really been following these threads, but out of curiosity I went to BH to see if they had any used ones for sale. To my surprise, they’re still listed as preorder. Seriously?!?! Didn’t the first units start shipping like 4 months ago? I figured new ones at BH would be on backorder but I never thought it would still be listed as preorder. What is going on over at BMD? Aren’t replacement RMA cameras being shipped out regularly but the preorders aren’t filled yet?
On a side note that is kinda irrelevant to this discussion... I was looking at some comparison videos between the P4K and GH5s and was surprised to see how well the GH5s held its own against the P4K. The P4K definitely looked better but not by a huge margin and I can see why someone may choose the easier production features of the GH5s over the P4K (although that statement is relative) so then I looked at the current prices of the GH5s and my jaw dropped... the sale price is $2300... is Panasonic nuts? The GH5 is 2 years old and should be selling for $1200 new at this point and on sale for a grand. The GH5s should be at $1700 and $1500 on sale.
At this rate, the X-T3 seems like the deal of the year. The P4K would be if one could buy it anywhere.

Yes.
It will be published on the 27th.
Of this month.
And this year
I'll put a bit of an update here later in the week with a couple of pictures and a final run list of its functionality.

Finally, Nocticron did the job:
 

For Rectilux I’ve used basic white Lithium grease that can be found almost anywhere. A good quality synthetic grease like that is sold in cycle shops or DIY stores. You can buy it in small tubes and the grease itself has a similar consistency as hand cream. In my experience, more specific greases that have thicker viscosity and higher drag values are often harder to thin to get to a desirable friction.
There are quite a few synthetic grease brands out there that can work equally well, the trick is (especially with Rectilux) is to coat a very small and even amount throughout the helicoid, then work the action until is becomes smooth. It is always best to ad a tiny amount at first, and then build up the amount of you want more resistance. 

@billputnamphoto
“So the question is, based on the photos here what's it worth”?
As it stands, those web marks will effect the flare and image on that already soft lens.
I guess it’s worth what anyone wants to pay for it. I’ve had a few of these lenses in the past, one in a similar state to yours that I disassembled, removed fungus, cleaned and re-lubed back to good working condition. They are not the easiest lenses to work on for a first timer though, since they are so small and quite delicately engineered. FYI I never paid more than $350 for my mint copy of that lens (3 years ago).
If it was me, I’d list the lens ‘as is’ (with those detailed pics you already have) - along with some stills or footage as to how the image and flare look in its current condition. A starting bid of $300 might get interest going, but that would be dependent if a buyer is willing to take a ‘risk’. You can minimise the perceived risk and increase the value of your lens if you can prove it can still currently make pretty pictures...despite the less than ideal condition of the optics.

Leslie Chow, from Panasonic Corp.

There are a lot of variables in what you are looking for but here is a rough guide to storage size per min for common formats.

There are a number of calculator apps available for Android and iOS that will give you an exact result for more cameras and codecs but the chart above should be enough to get you in the ballpark but the biggest variable though - and one which no calculator will get you anywhere near a solution for - is the shooting ratio.
If you were doing a 10 minute UHD film shot in RAW on the BMPC 4K then it would need 123.6GB of storage (12.36 x 10) but that is if you did it in one take of course.
The shooting ratio will vary wildly and make the total storage requirement many times that amount but only you will know what that ratio will be depending on the type of film it is and how you will be shooting it and numerous other different unique factors.
Just as an FYI, here are the shooting ratios for some feature films.
Aim for Primer but budget closer to Hateful Eight !

It does squeezes 2x as well, but GH5's HDMI will output 4:3 image in 16:9, so it will appear as a picture in picture. Keep that in mind.
I use Feelworld F7 which has custom zoom and custom anamorphic stretch options, works like a charm with GH5.

A proxy workflow is what you make of it. Essentially, you create an exact copy of your entire project in a format that plays back smoother on your system. At any time, you can toggle between using the "online" media and the "offline" media. If you wish, you can do ALL your post production on the proxies (editing, color, sound), and only toggle back to online media for the final export. Or, you can do some editing, switch to online media, do some color, switch back to proxies, do more editing, switch back to online media, edit more--etc. Or you could use proxies to edit, switch back to online media for color correction and export, and never use the proxies again.
On the other extreme, you can do a proxy workflow where you never switch back to the online media, but then it's called transcoding.
You can make proxies for any format. You can even make your proxies BE in any format. You can make HD ProRes proxies for 8k 10 bit H.265 footage, or 4k H.265 proxies for an HD ProRes project (not sure why you would want to though...).
That's all quite abstract, though. In practice, proxy capabilities depend on which software you are using, especially if you are using the builtin proxy generator. In Resolve, if you use Optimized Media (essentially, proxies) you can switch between optimized and original media at any time, like I described. However, you are limited in the formats that you can make proxies in, and I've often found that Resolve "loses" optimized media all the time. Personally, I make proxies in ffmpeg, and manually switch out which files my timeline uses. That way I have maximum control over the proxy format, and can easily troubleshoot problems.
A decent workflow should allow you to do crops/reframing and variable framerates without issue, but it depends on the software you use.
 
In general, the only pro is smoother playback while editing. However, proxies are also a huge benefit if you have a remote editor and need to send files over slow internet connections. My 500 GB project is only 10 GB in proxy form. I can use Google drive to send the entire project to an editor, and all they have to send me in return is an XML.
Cons are a messier workflow, having files become unlinked if your workflow is not perfect, tons of headaches. But all of those problems can be avoided if you know what you are doing, and rigorously test your workflow before using it on a project.

I love Philip Bloom for the information what he has given us. But I dont think he is a DOP, not even a cinematographer, videographer/camera operator is more likely the term you can describe him with.

I learned English thanks to this site (and pornhub too)
So I know all about dynamic range and horny milfs looking for a young pizza delivery guy.

I want an Irish Wolfhound, to match my own size. 

But first I'll need to stop living in an office in the downtown CBD! And get somewhere with a lawn. 
 
Only three sleeps away if you're on crack. 
 
I fixed your typo for you. 
 
What are your first two?
For me: Facebook, then jwsoundgroup.net
I delivered a few pizzas last night. 
Was very disappointed to discover reality was not what was promised.