mercer

And it’s ProRes. The Pocket and Micro are amazing cameras. And still 4-5 years later, there is not as cinematic of an image from any camera at this price point. Who cares about 10bit, when you can have 12?

Yeah they really are special cameras. Every time I read too much discussion about 4K this or 4K that, I go back to my Vimeo favorites and watch some videos from the Pocket, the Micro or some ML Raw. This was shot handheld with a 14mm f/2.5 on the Pocket... no rig... no Speedbooster... just the Pocket and a native lens... I don’t even think he used an IR filter...

Sounds great. I sometimes miss shooting with camcorders and you got to use a pretty cool one. I look forward to seeing your short. Love B&W! I could see that... quirky characters amidst an almost ridiculous scenario. Are you going to do the cheesy sfx associated with those 50s films? Also interested to see how you handle the prevalent post nuclear theme of those films... or should I say how you make it relevant to modern times.

What a colossal fuck up of self-fulfilling prophecies. And the blame should be shared by every one. This never should have been preannounced. He never should have named a surrogate to speak for him, especially since the surrogate admittedly knew only a little more than we did and is fairly new to the forum. If anything, he should have taken this to Andrew Reid before bringing it to anyone else. And we all probably should have given the kid the benefit of the doubt... at least for a coupl of days. But grand claims require grand proof and instead of providing adequate proof, he got angry and defensive. But at the end of the day... who gives a shit what some nerds on a forum think or say?

Great shots Jon. Really nice work. Do you have any in actual lowlight, where your $9 reflector saved the day... or night for that matter?

Jon you know what dude... screw you. You are single handedly ruining this site because you can’t have a civilized discussion with people. You do what you want. But don’t act like other people are wrong for bumping up ISO because your Leeming LUT rules tell you otherwise. There are a lot of impressionable beginners or people that don’t have your disposable income and need to raise their ISO because they don’t have access to whatever lighting kit you’ll spend thousands of dollars on. I could give two shits what you set your zebras at... real filmmakers use light meters anyway. Good point on sLog2. But there does seem to be a pattern with Log profiles and higher ISOs. Traditionally DSLR’s and DSLM’s base ISOs were at the lowest setting but once Log profiles were introduced, those base ISOs were bumped up. I assume it has something to do with each individual Log curve and how the information is stretched on the curve? So some curves need the additional brightness of the higher ISO to get a cleaner image?

Tell that to Michael Mann. You literally said ETTR means adjusting aperture. And I am saying that it means exposing to the right. All of this talk about sensor exposure, gain, blah blah blah means absolutely nothing if you’re trying to get a shot underneath a street light without any, major additional light... so you open up your lens and push your ISO to an acceptable level and you get the shot. When you increase ISO, does it change the in camera meter reading?

ETTR means Expose To The Right. We have 3 in camera tools to do that... aperture, shutter speed and ISO. Since most filmmakers follow the 180 Degree rule, we have two ways... aperture and ISO. Sure in a perfect world, you would keep the ISO as low as possible... or as close to the base ISO as possible and you would use lights or bounce boards to aid in your exposure... But we aren’t professional filmmakers shooting Hollywood films, so to completely abandon ISO as an exposure tool, seems ridiculous to me. ISO is the digital equivalent of ASA. High speed film was invented for lowlight shooting and always had more grain. Sometimes you need to make sacrifices to get the shot. Obviously, your specific camera will dictate how far you can push your ISO from its base, and the further away from the base ISO, the less dynamic range you will have, but if you need to shoot in lowlight, you usually won’t need as much dynamic range anyway.

I’ll have to try it. I knew FilmConvert has a ML Raw profile, but I never really tested. When I started this thread, I was toying around with an RX10ii... thinking I could avoid some common color banding issues of sLog2 by having the 4 Luma values of monochrome. It actually worked exactly as I hoped and loved the 120p video but every time I went out to shoot something, I picked up my 5D Mark III, so I sold the RX10ii since it wasn’t getting used. But there is something very cool about the RX10ii and if I have some disposable income in the future I can see myself buying it again and treating it like a S16mm B&W camera for run and gun projects. Nice frames, please post the short when it’s competed. What camera did you use? Looks cool as always, Matt. Excited to hear you’re working on another feature. Any details? To expand upon your points, I believe that B&W easily adds a level of suspension of disbelief that can really strengthen some films. Eraserhead being a perfect example of this. It’s like anything can happen in a B&W world. I’ve had an idea for a film for years that needs to be shot in B&W... if only I can find the time to pre-produce it. The blended, Super imposed frames at the end is such pure cinema. It felt as if I was watching a film from the 40s or 50s. Great work.

Not really. Canon already outsells Sony with mirrorless cameras and it seems like most Sony users shoot with Canon glass, so as long as they don’t do something stupid like Nikon is doing with their mount, I predict a lot of users will switch over.

Field of Broken Dreams... Or Field of Rejected Dreams

Cool idea, but there is a lot of planning and money needed for a one night event. Even if you’re using a free room at a local library it will take 6 months and a few thousand dollars to pull off because you have to prepare for the worst. For instance, my friend is a director of a small film festival. Everything was going well at the venue they were using until the morning of the fest and the projector broke. They had to scrape together a bunch of money to go and rent a new projector. Luckily the place they used had a concession stand but that is something to consider as well... you need refreshments, parking, accessible bathrooms. It sounds fun to get 20-30 films together and have an all inclusive, free event, but nothing is that simple. Then you also have to consider the schedule of the shorts or films. Requests from filmmakers to go in a certain place in the schedule because they have something else to do. Sometimes free creates a perception that it isn’t “real” so people become more pushy and expecting. However, I think it’s a cool idea and could be fun. To start small, I would try and keep it local. Perhaps start a film club in your area and do some type of 48 hour filmmaking fest. Or a 7 day to make a 7 minute film that culminates with a showing of the films. This will limit your attendance for the first year while you go through the growing pains of putting together a small event. Good luck, it sounds fun. Or if you want to be really hip and are willing to take the time and raise the money, you could market the festival as an underground fest that only accepts films that were rejected from major/minor festivals. You could probably get some press and could appeal to a lot of filmmakers. Just come up with a hip name for the fest... Midwest Film Rejects or just Film Rejects Fest. Idk, just spitballing.

Yeah, you had us at Raw video.

I think it depends on what kind of shooter you are. I am a lazy shooter. I shoot wide open and use a variable ND to ride exposure. If you are a more traditional, proper shooter, then the cine version with the declicked aperture will give you the minute adjustments you may need for proper exposure in certain situations. I’m also a one lens kinda shooter. I shoot run and gun and usually don’t have the time or opportunity to change lenses, so I zoom with my feet. I’d love a compact, lightweight, fast zoom but they don’t really exist. So with that being said, maybe get the focal length you’ll use most for video in the cine version and then the other two in the photo version... Just a thought. Btw, I have used both the 12mm and the 21mm and was very impressed with both lenses. The 21mm is a great focal length for Micro 4/3.

You know what could be cool though... but probably damn near impossible... to open up a GX85 and a BMPCC and replace all the parts except for the IBIS... so a Pocket cam inside a GX85 body... @BTM_Pix I nominate you for the task. Good luck and let me know when it’s done.

Okay, I think I figured it out, he opened up the NX1 and took everything out and replaced it with the innards from a 5D3 and then installed Magic Lantern.

I think that’s debatable and may be up to personal preference. Of course I shoot FF and 14bit... so I get my cake and eat it too.

Ohhhh.... it’s a mod. I had read that comment when I was going to sleep one night so when you said you opened the box, I thought meant figuratively, not literally. Hmm, interesting. Then if I had to guess, you found some kind of governor on the burst mode or intervaleter. Btw, no pressure from me. I don’t even own an NX1 or plan on getting one but I do love Raw video, so I am very interested. Good luck with your studies.

Oh I agree, but I cannot imagine this was something he just started yesterday or last week, so to mention it now, and not then, seems odd. And now it’s being dangled in the air like a carrot. It’s just odd is all. It reminds me of the build up to the GH5s. It was so secret, yet grandiose that the reality couldn’t live up to the conjecture. I have a feeling it’s a roundabout way at Rawesque video and not necessarily uncompressed cdng. But I will add that I do not think it is malicious at all. I believe he figured out something cool... just maybe not what we think it may be... or hope it may be.

I don’t know. Maybe? Yes? Definitely? No way? My level of programming is barely understanding how ML Raw works. As I understand it, really fast cards are needed for the buffer. With ML Raw, the 5D3 is king due to CF Cards and buffering speeds. 4K Raw is buggy and not even stable or continuous in 14bit. So I am led to believe that this is a combination in camera and post process to receive this Raw video. But again... I don’t know. But I will be interested to find out. The fact that he is worried about the legal aspect makes me even more curious because there shouldn’t be any legal issues with modifying your own camera. The ML team could not be sued for doing it, so it seems this shouldn’t be an issue either?

No offense to Arikhan, but it is these hyperbolic statements that make me question this. To write code or figure something out that will be on all tech blogs radar and will affect Samsung’s IP is a pretty bold statement. It took a team of rather brilliant coders and a lot of time to figure out ML Raw and then write and crate MLV files... so as I said in the other thread... interested but skeptical.

This definitely seems interesting but I am a little skeptical. I’m confused because I’m unsure if this is an in camera hack where you’ve figured out how to write motion or cdng files in the NX1 (or an equivalent like MLV) or if this requires something in post to complete the process? If it is internal I can only imagine you may have harnessed the Raw timelapse function or something? I don’t know... interesting either way and I look forward to the results. Any way it would work on an NX500?

Honestly, your first reasoning... that you don’t have vLog, is the perfect response. I was always a fan of CineLikeD. I thought there was always adequate DR and enough flatness for some grading. You really had to nail your WB or correct for the orange... neither was a horribly difficult task in post. And with 10bit, it should be a breeze or not even an issue.

Nice, that may be my favorite from this series.

Interesting. Why not just shoot in vLog rather than in a standard profile and use the reverse method? It seems like there would be a lot of other variable... picture profile settings... etc.