kaylee

this is a fun read full of great production info

if youre ever low on fighting spirit in your art practice and you like BTTF, check it out
FUN FACT: the DeLorean in Back to the Future had a speedometer that maxed out at 85mph, thanks to a 1979 law set by President Jimmy Carter's National Highway Safety Administration which sought to promote travel at safer speeds. as the concept of "88mph" for time travel had already been built into the script, the production team replaced the manufacturers speedometer with the digital readout that is so famous today
NOT SO FUN FACT: THEY WERE SHOOTING WITH A DIFFERENT STAR. AND IT SUCKED. AND THEY SAW THAT. WISE!!!!!!! tough situation tho; gives me faith to think that AT LEAST IVE NEVER DONE THAT (yet)

but rlly tho, who could play that role better than michael j fox? not eric stoltz the method actor thats for sure lol. but hindsight is always 20/20
anyway, never give up *cena towel*
 

Shooting a BTTF parody today with the M2. Love this camera
 
 

It gets out of your way and lets you get the shot, get the audio, get the focus right. The best tools disappear and let you simply create. 

Even though I'm not getting my hopes up, this would make me extremely happy if it's true. 

Oh ...
 
Password for both is: daysend.
 
Bob

Hey Mattias, I put a clip up on Dropbox last week: https://www.dropbox.com/s/dqt77smrousu9vk/P1010462.MOV?dl=0

I have a Mk II and I did some extensive tests with external ProRes recorder. There is tiny bit of improvement but for me it was not nearly worth the upgrade in file sizes. If I were shooting a 30 second spot that was going to be on television I'd probably use it.
Check out what this guy has been doing with the Mark II. Great spots!

I have had a hard time for years with this as well. Some settings or trick (such as uploading fake 4K upscaled to get a better bitrate) can do a bit better. Many theories fight against each other (but if some have good settings still share it please). 
But nothing ever close to let's say GoPro official video, why? 
Answer is simple and was written in Google FAQ (not written in USA anymore): 
Pros have a specific account whith 50mbps bit rate for FHD, where you are stuck at around 8mbps. Don't look further. 

Ive been asked quite a bit about what the 4K 305Mbps 4:2:2 C-Log looks like ungraded.
Here are a few "Before and After Shots". I've spent maybe 10 seconds per clip on grading so its more to show the ungraded.
But most of all its to also give a link to two random 4K and one HD Slowmo clips that you can download.
Files: http://we.tl/b0zsUe2hxy
 
 

I'm not sure why you have a vendetta against the c100 Zach but the points you make are pretty wild. And pretty strange coming from a guy who baffled everyone here with his inability to understand lighting.
Yeh fair enough you shouldn't upgrade until you feel you could make best use of the new gear. But a lot of people here are way above 7D territory here Zach, both financially and skill-level wise.

Masks work very good in After Effects.
There are lots of tutorials of masking, it´s not dificult.
https://helpx.adobe.com/after-effects/using/creating-shapes-masks.html
https://helpx.adobe.com/after-effects/using/alpha-channels-masks-mattes.html
 
In the composition, place down the "under the horizon" file 1 and up the "above the horizon" file 2.
Mask the file 2 with the pencil or rectangular tool the from the "simple horizon" to the end of the frame (the part of the video that you don´t want in)
And in the mask menu, select Substract (You see Normal, Add, Substract, etc).
You will see now the file 1 frame and file 2 frame, one above the other.
Here you can see how: https://www.youtube.com/watch?v=OzAkb7Cw0uM
(Sorry for my english.)

If they can release a mirrorless camera with XC10/C100-level image quality in 1080p without Sony's RS and overheating issues, I'd be a happy camper. 

RED's 'ugly' graphic design aesthetic has gotten really old. i just hope the 7th grader who's designing this stuff is well paid

God, I hate their design style... Not enough to put me off, but that whole military thing is so crude and dated.

Announcement Friday 25th... Actual product to be delivered early 2018 with a bunch of firmware bugs..... Stable firmware release and bugs fixed by sometime in 2019.
I joke... But only kinda

Here some beautiful footage from the upcoming Ursa mini 4k:

"Most of the footage was shot in Prores HQ (which looks amazing - even more so than the BMCC), Full HD, 60fps. We used all sorts of lenses: Canon 24-70 2.8L, 50mm 1.2L, 100mm 2.8L IS, 17-55 2.8 IS and the Sigma 18-35 1.8. Please note that while the firmware we had on the Ursa Mini was as close to the final firmware as possible, but was still in beta nonetheless."

 
 

Hey - I'm no Blackmagic lover, but even I can see that if you expose your shots properly both cameras are entirely usable. All cameras have their flaws, and let's be real - the Epic is (or was) $30k just for the brain versus the URSA which is what - $6k? (can't keep up with BM's pricing these days) So you'd hope there's going to be a difference.
All I'm saying is - despite the fact that REDs have been used on countless high end productions over the past 8 years, it's not like the REDs are flawless. RED have suffered immensely from corrupt files, camera crashes, high amounts of noise (especially early releases of Dragon), and overall unreliability - not to mention overheating and the noisy fan, boot up times on the RED One, buggy firmware releases etc. etc.
I once ACd on a RED that had to be re-booted about every 3 hours because it would just shit itself. Then there's the REDs that wouldn't boot up unless you plugged the VF Lemo cable in, pressed the red button, pulled it out, pressed the red button again, and then plugged it back in...
You can get great images out of a RED, and many of its bugs have been ironed out over firmware and hardware upgrades... But to suggest that it hasn't had its problems is disingenuous - especially when they've been out in the wild for about 8 years... unlike BM

Well if it only records to RED mini mags...that's $1k + worth of recording media right there.
Saying that, let's see what they do. Knock on effect is always advantage for end users wanting to buy (any brand). Pretty soon 4k cameras will come free in a box of cereal.

Will & an h.265 encoder chip. 
After seeing what Sony is capable of. SD cards can support ~240Mbps that 4K 10bit footage can conform to with the h.265 codec "easily". 
Doubt it. For the solution I mentioned before, it will need dedicated hardware. 
P.S. Just saw that they will enable the uncompressed RAW is stills:
http://***URL removed***/articles/7665355870/sony-brings-uncompressed-raw-to-a7s-ii-and-a7r-ii
So if we keep complaining for 10bits we might see it someday . 

I used the Sony AS7 in SLog2 for 1 year. I shot two 52-minutes documentaries for French TV. 4 months ago, colorists using Da Vinci Resolve (they are 3 in Chanel 2) all said "PLEASE stop using the Sony A7SII, the colors are horrible! Calibration is a headache for us because skin tones are infamous 9 times out of 10, and it seems it lacks colors in each image ... ". I love my A7SII because it is compact, convenient, and that images always appear Detailed me. I yielded to their request: this summer, I rented a Canon 1DC. And surprise, I seem to have discovered what a palette of deep colors! The tones are warm, bright and the result after calibration is staggering beauty. I sulked Canon for 2 years. So, I kept my A7S to film my kids and take some pictures sometimes. Ok Canon is a company that is not listening to its users. Ok Canon provides only the minimum. But Canon has realized that the most important, beyond the technical advances, it is the science of color.

Here is another example only to show that the codec and bitrate play a big role for banding . So when comparing footage is always crucial to match these. 
Took a 10bit 4K GH4 sample, transcoded to 3 different 1080p, matched histograms (as close as I could) and graded with the same LUT. 

http://store.pixelfilmstudios.com/plugin/fcpx-lut-loader

This is free for a limited time ^^^ normally $50.

yeah i figured it would be named after a wrestler

Im not talking about anything that comes from post. im talking about camera output. more on that later
just talkin about in camera color rn tho
nothing could be further from the truth. i want a high level of color accuracy for reproducing sets, costuming, and prop elements (which were very expensive and time consuming to make). i want nature to look like nature, i dont want to have to avoid shooting something as common as a F------ BLUE SKY for any reason, i want people to look awesome, and healthy, like actual living creatures with blood running through their veins
fyi im capable of being extremely critical of the alexa, everybodys favorite movie camera. im not a mark; i know what i want and im gonna keep bitching until i get it, thats my job as a consumer. after TONS of bitching from us all about slog2 on the a7s, heres slog3 on its successor –– no coincidence. anyway, i digress, just saying that youre a bit unclear on what im "looking for"
these video reinforce my point: ive seen em, not impressed. at all. im not into retro luts or affected color grading, thats a fine option –– but i described above what i want from a digital video camera
but then again –– some feature filmmakers are going to map all their colors to teal and orange in their edit, and for them this shit doesnt rlly matter too much. slog2 is great for black and white work ive made some beautiful stuff
 
 

RED Hot air gun