PannySVHS

Some underwater macro marvel. Not bad for a little pocket cam. Upload is 1080p, so wandering if it was even filmed in 4K. So here the little Lumix LX10 for some underwater footage. I really like the framing and the cinematography as such. What do you think? @Davide DB 🙂
 
 

Here is now for finishing funds:
https://www.kickstarter.com/projects/make-believers/murder-mystery-romance-the-orange-of-daydreams/description

Keita with the DJI RS-3 rig which helps us with getting lots of tracking and dolly shots, and helps Keita with building his triceps and biceps
 

Our gaffer creating some extra sunlight
 

Shooting Scene 33 on a sunny day at 3pm
 

Mariya's Windows 95-era monitor that runs a Windows 10 OS
 

The morning kicked off with a 3 hour rooftop shoot
 

V
 

Has anyone invested time into thinking about this?
- not me. but you have several times before over the course of last year.
 
The iPhone 15 with log may be the win for ultimate travel ease
- good pair of shoes is. Phone without log is lighter though.
 
but curious about the quality bump and portability of these two bad boys.
- watch markuspix and save big money. who needs bad boys.
 
The smaller the footprint the less barrier to entry and more desirability to create
- not at all. joy of using is.
 
Buy any 3 of these you keep on mentioning. I think you really want to, considering your posts of the last one or two years. Meanwhile with a grain of salt but very entertaining and informative.
 
 

Thanks largely to Andrew's original post, many people here already know that Shane Carruth shot 2013's excellent indie feature Upstream Color with a pair of hacked GH2s. At the time, aspiring filmmakers everywhere found inspiration that such a masterful film was created with such an accessible consumer camera. It still stands up today as a beautiful, challenging, thought-provoking film:
I just happened across some behind the scenes photos on Reddit posted almost a decade after the film's release. I've always wondered about the technical particulars of how this film was made and even though what was posted is pretty low-res and deteriorated further with early Instagram filters, it does show some pretty bare-bones camera rigs and a lot of natural light.
As I enter my forties and the dream of creating a meaningful narrative film in my lifetime seems to slip further and further out of reach, this is just the kind of inspirational kick in the pants that I needed. If 8-bit, 4:2:0 AVCHD from a Micro Four Thirds sensor was enough to create an immersive story like this in 2013, then the never-ending pursuit of marginally improved gear and software really is just a giant, capitalism-fueled distraction -- one that I know that I use to put off the very real possibility that when I buckle down to make something deeply personal, I might not have anything to say. But I also know that it will be my deepest regret if I never even try.
If there's one thing I've learned, it's that my own thoughts and ideas aren't particularly novel or unique, so maybe others on this board will connect with this too.

The Mk II has subject-detection available also in wide-area L AF box, instead of only in the full-frame auto-area AF as in the Mk I. For me limiting the search area for the subject is key to obtaining controlled and reliable results in photographing people. In the newer Zf, the AF box size and shape can be adjusted with many different options and subject-detection is also available there. For me these are the most typical modes I use the cameras in, and the most useful as it gives just the right compromise between user control and automation for me.
 
I would expect the Z6 III to feature also the same custom area AF as the Zf has (which is ahead of the Z8 and Z9 in the number of box sizes available).

Dual processor, better battery life, 2 card slots (one being CF Express) being the main and probably only real differences.
I looked at the Z6 around the time it came out when I was still using Fuji XT3 but decided the XT4 would be better for me...but then Covid came along and the World changed...and I ended up going for the brand new for then, Lumix S5.
This was before 3 of the 4 lenses listed above existed and had they done so back then, I would almost certainly have made a different choice. I would now if I had 20k to spend but there's reality to deal with!
I'm not criticising Lumix. In many ways it's arguably one of the best all-rounders out there at it's price point (S5ii) but the entire system has not been quite right for me for hybrid or stills work. Video yes, - ticks all the boxes, but not quite for my needs which is hybrid.
The Z6ii is no current 'in it's market champ'...if it ever was, but it's a damned fine stills camera.
Also, because I mentioned 45mp before, why not the Z7ii? It's around +900 euros and do I want 45mp?
Kind of yes, kind of no.
I had S1R's for stills for a year and they were OK to use and the results stellar, but probably overkill for my needs which is event work.
I keep saying to myself that for anything else, more MP would be great, but the reality is I don't do anything else and 24mp really is just a good sweet spot for my line of work.

For what and to whom?
The Z6ii is not out of date for me. I would not get one myself for video work but for photo, meets ALL my needs. 
Ideally, I would not mind having 45mp, but 1250 (used Z6ii) vs 4000 (used Z8) euros, err, no. And the Z6ii has slightly better DR, lower noise and better battery life plus is a more compact unit (without additional grip).
So maybe you have some reasoning in that you have not explained, but perfectly 'in date' for many users?!

Image looks like from an p4k test video imo. @kye I find the video ok but pretty plain.
Cage, ssd clamp and further rigging are shown in another video of the same youtuber. With the specific cage and external ssd it already looks looks pretty big, almost as big as the m2k with a 3" monitor rigged to the back, look at around 7min 50s. Knowing the great quality the p4k is capable of, this camera is no slouch in the image quality department, of course. It will be great for broadcasting and streaming for sure. I won't trade it in for my m2k though. 🙂
 

Just a 3d render and a guy with nervous hands. Fake vertigo inluded.😂

20mm Nikon AI was vignetting pretty strongly wide open at f3.5 on full frame and the 35mm f2 as well iirc. @mercer  My Canon Fd 28mm f2 has a lovely little vignette on FF when wide open. Only tested it wide open so i cannot talk about other apertures.

That's the one @kye Thanks for the find. I think she inspired a few of us to try something like that. The effort it takes regarding locations, travelling and filming are challenging. I am more comfortable with handheld work, including static shots by concept. Recomposing that frame on a tripod is a skill by itself. I have done some allright locked work I guess but handheld work, static and motion have been my comfort zone.

Obviously, I understand the contradiction... haha. And I knew you'd know what I meant.
I end up reaching for my Canon 28mm 1.8 a lot of times because it has that vignette that allows me to push the exposure a little higher in certain situations because I know that the vignette will help to cloak my highlights a little.
And I know I've mentioned the Sigma 30mm 1.4 Art that covers full frame with a pleasing vignette... I just haven't found one for the right price yet.
My mouth is watering just thinking about it. If I could figure out how to make money with any of this crap, I'd probably own one by now. 

Looks cool... but... just buy a Komodo and have a better camera. 

https://nexus-cameras.com/
 

First outside footage...  looks good to me!
 

The compositions are wonderful, and of course is the commitment to wait for the right conditions and to actually go out and find them.
The flickering is because most of the shots are filmed in slow-motion and those lights would not flicker to the naked eye.  Look at how fast people are walking or driving for a reference.
I actually like the flickering aesthetic as it provides a hint of artificiality and 'electric dirt' to the otherwise elegant beauty of the fog (it's fog not diffusion), the balance of the compositions and the pristine cleanliness of the sensor.  Japanese animation often highlights the electricity and artificiality in this way too.  
The compositions are like making a fine meal and making sure it has salt / fat / acid / heat and creaminess contrasted with crunch - it's the juxtaposition of elements that creates the depth and why the shots become more interesting the longer you look at them rather than less.

Fair. He does. I guess my point is that driving around all night capturing footage alone can be challenging. Most people love the safety and convenience of the daylight hours. 

Overall nicely done but I could have lived without the pulsing lights. 

Perhaps the thing to keep in mind is that she says in the description "Selections of visuals from an upcoming feature project".
So, in a sense, this is B-roll, and in a sense, this edit is a camera test for YT.
I need to up my game with camera tests!

Absolutely love her stuff.

The variable aperture zoom lenses aren't fixed DoF, but they're certainly close..



...and I think you're talking about Mina Rhodes who did a bunch of Urban Symphony style videos like this one?
 

It just seems that i don't wanna take a chance on the port nor rig the beauty up. I really enyoyed the restrictions and freedoms of using it barebones as I wrote above. 
I got two 64GB cards plus a 32one, all three working well but none for 50p raw 3:1. Read on this forum about more recent cards working without troubles iirc. Maybe we could do a og p2k or m2k cinema verité parade, you, @kye , @mercer , me and anyone else.

Period! 😊 @Emanuel@mercer

The photography is very distinctive. Very documentary-like.
The underwater shots totally without contrast. It must be a stylistic choice but the underwater ones are unwatchable.
 The BBC sleeps soundly