mercer

Obviously, I have to stop down to get the sun stars, so I guess I should Iight my actor as well and bring down the mids in post to create the silhouette. Thanks Squig, never had to do silhouettes like this.

Am still working on my film and still loving the results. Here's a screengrab from my shoot yesterday. I just threw a LUT on there, to get it into Rec709. I'm sure the final look will be different and more refined... However I do have a question for some of the ML Raw veterans out there... I tend to shoot a lot of silhouettes, and I am finding it tough exposing for them. The Raw histogram is telling me it is overexposed when the sun is in the shot, so when I close the Iris to get me some sun stars, even though it is still showing as over exposed, I am getting a crap ton of noise. I know @squig ends up with some dark footage, any ideas? Also any new news in 3K/4K Raw?

I don't know, I just don't think we as filmmakers should stop making films because 1 out of 10 people may get offended by it... even if 9 out of 10 people get offended. When produce and cutlery becomes offensive, we have problems as creators. Now somebody could be offended by my video, or Stab's, if it's a bad idea, or poorly done, but because of the subject matter? Who cares?

I guess it would be great at 60p for slow motion zooms.

Plus he specifically stated he wants to keep his 7D and existing lenses... So he should probably just sell them and buy an Alexa. ? I think the more important question should be... what are you going to be shooting? The 7D can have ML Raw, so he can have some decent footage, if he keeps his current set up. If he wants to stay with a DSLR for photo and video work... a tripod head and maybe an upgrade to the 7D2 might be a good idea for DPAF and the higher bitrate 1080p. Hell, I know they're frowned upon on this site but if I was just starting out, I would seriously consider an 80D, especially with his lens collection. He can still sell his 7D without losing any money by picking up the 80D and then still have that extra money to buy support gear, audio and lighting.

If the 6D2 rumor is true, then they might as well skip 4K altogether and go with 6K for the rumored FF mirrorless. LOL. I think the fact remains, no matter how often it needs to be said, Canon remains number one without catering to a hobbyist/enthusiast video minority... so why dump money into it? If it was affecting their bottom line, they would put the money into it. They exist to make money for their shareholders. Yada, yada, yada.

Also, I'm unsure why a 5D4 would be a headache as a B-Cam? If Fury Road can use 5D2s as B-cams and C-Cams to an Alexa, I'm pretty sure a 5D4 would be a suitable B-Cam to the C200. Or even a 5D3 with ML Raw.

Idk, I would think that the people the C200 is marketed for, most would not use a B-Cam... or the C200B is the B-Cam... maybe? Also, I am under the impression, correct me if I'm wrong, that pixel density auto focus cannot equal dual pixel auto focus and I believe Canon has that technology and any variant of it pretty locked up with patents. While the other manufacturers were dumping R&D into 4K, Canon chose to throw theirs at DPAF.

It's doubtful that CineLikeD was in their software when the GH3 was released but maybe it was snuck in during a FW update without anyone knowing. Peaking would be my first question with the GH3 and that would be pretty cool since that camera sells so cheap on the used market now.

I'm unsure was that supposed to be "insensitive" to eggplants or knives? Are we not supposed to make films that question and bring attention to things in the world? Here's a video I shot on the XC10 last summer for a contest. It's probably equally as offensive.

It seems like the sweet spot is a third under to a third over, depending on the circumstances. If you're filming in the shadows shoot a third over. If you're shooting in bright light then a third under. In mixed light and shadows, dead center is probably the way to go with cameras that have 10 or less stops of DR. I appreciate what the Leeming LUT is attempting, but you can only push and pull these cameras so much and a half to a stop more latitude isn't turning it into an Alexa. But for what it is, you guys are getting great images and that is all anybody can ask.

There may be some differing of opinion here, but I always liked these settings from Noam Kroll... great blog too if you're looking for a good read. http://noamkroll.com/the-best-gh4-settings-for-video-why-you-shouldnt-be-tweaking-things-too-much/

I really don't want to beat a dead horse, but what is your on camera monitor calling your ETTR shot? Because to me, that isn't ETTR and that looks like +/- 0. At 90% zebras, what f-stop did they disappear at? I don't think you can truly ETTR by dropping a full stop. Those zebras could have disappeared at any point during that stop drop. Plus, you ETTR your subject, so technically the zebras should have been pulled back from your face, not your shirt. Which is another problem with ETTR on these 8bit cameras, you end up with a lot more work in post fixing your exposure. Not a big deal for small videos, but another point any beginners reading should be aware of.

That SLR Magic looks like a great option. I think there are special deals for them and a lens too. Great deal if someone is looking for a new lens and a variable nd.

I would be lost without a variable ND. It is true they degrade the image more than single NDs but there are some high quality ones where I think the benefits outweigh the negatives. I do recommend getting one with hard stops, so you avoid the dreaded X pattern that can occur if you add too much. But, with your native lenses and desire to move around, you may want to test Shutter Priority mode. I recently used it with the FZ2500 and the change in exposure was fairly gradual. You can also use zebras and exposure compensation so you can stay within your ETTR preferences. As I mentioned before, you can add a variable ND to your lens, to trick a more open aperture and use auto ISO with a limiter. Six months ago I would have scoffed at the idea of shooting in Shutter Priority but as I was, I think you may be pleasantly surprised. And I assume if the exposure change is too jarring, you could isolate it in post and soften the change. Or even cut around it. It's like walking with IS... show that angle until it doesn't work, then cut to a different angle or shot. As long as you get coverage, you'll always have another angle to cut to... or maybe a jump in time. There are workarounds for everything. We aren't Hollywood directors with focus pullers and tape measures, sometimes we just have make do with what we have and figure out a way to work around it.

Idk, I think it probably works like AWB. If there is a need for exposure change, then the shutter speed may change, or maybe the aperture will, or the ISO. It would be interesting to know which changes when, but I don't know if many cameras tell you that. There are ways to trick the camera like an ISO limit. Or with compacts that have internal NDs, when in Shutter Priority mode, I would limit the ISO, enable the highest strength of ND to attempt to force the aperture to open all the way for shallow depth of field. This way if I moved the camera, I could get a gradual exposure shift while still keeping within the +/- exposure parameters I set.

I actually don't disagree with you, Jon. If I ever shoot in any auto mode, I always shoot in Shutter Priority, but the only time I ever do that is with compacts or bridge cameras. But Jase and kidz have been using shutter speed to aid their exposure, instead of NDs, for years and it works for them, and I enjoy their videos... so who am I to say. Unless you're shootings narratives, it probably doesn't really matter anyway. But then again, I only shoot wide open and use a variable ND to expose, so what hell do I know.

Yeah... because I'm the rude one in this scenario...

I see both sides. I think you should have a festival strategy. Not all films are right for all festivals, so I wouldn't submit both to every one you can find, or afford. But don't limit yourself either. The problem with Vimeo only is that you will need to market your films. Staff picks don't happen by accident and unless you are getting thousands of views, what good is a Vimeo only strategy? I also think having two completed films can show that you are prolific, with multiple ideas and someone passionate about their work. But in the end I think you need to sit down and think what you're trying to accomplish with your films? Are you trying to get a ton of views? Are you trying to get funding for a bigger film? Or do you just want your work viewed and critiqued by as many people as possible... or the right people? The problem with all of this, is there is no right or wrong answer and you can only market yourself so much before a little luck comes into play. In the end, it all comes down to the work and finding the right audience for it. I have heard that some people will reach out to movie review/critic sites... there are tons around for no budget/micro budget filmmaking. And a lot of these sites offer a paid review option. If your films fall within a niche you could get a lot of attention from the specific fans that like your types of films. Idk, interesting topic, good luck and keep us posted with your films.

I think he was being a grammar nazi, rather than an auto shutter nazi

Yeah that was the D5500 with the Nikkor ai-s 35mm f2. I just bought the 35mm 1.4 ai-s. So I'll probably sell of the f2. The GX85 is a fun little camera, but be warned... it is pretty small and the buttons are tiny. If that matters to you, the G85 may be better. But the 5-axis is a blast. It's hard to go back to using tripods after having it.

Only had a minute at work to glance at this and I'm glad I did. It reminded me of how Milton Bradley commercials used to look in the 80s.... instant nostalgia... nice job.

Thanks for posting this. It's interesting to see exactly how he came to those conclusions. When you have controlled lighting, definitely worth thinking about. But that is just one controlled test, would have liked to see his results by performing the same test outside with natural light. As is, there seems no reason to doubt his controlled test using a light meter.

Thanks, I'll give it a try on raw2cdng, I used it with a different app.

They have an A mount 28mm f/2 as well.