Ricardo Constantino

Yes pity he can't time travel a month into the future to answer flawed test outcomes, which blame 10bit for compression artefacts. Must work harder Panasonic And give us 960fps 8K in a firmware update whilst you're at it.
By the way my GH5 is pre-ordered and should arrive on the 20th March in the UK.
So expect some decent coverage finally

This is a great post, especially for a Sunday... but seriously I am going through a similar thought process. I have bought, tested and returned/sold about a dozen cameras over the past year and a half. And the one thing I have learned is that no camera is perfect. all of the cameras at the $1000 or less price point are flawed in one way or another. They're all capable tools though, as many have proven over the years. However, it's easy to say that I can make my films with a t2i, or a GH2... of course you can... but what's the point? How will a t2i or a GH2 help you make your film? How will they hinder you? Movies are hard enough, practically impossible if you reside within the... "I have absolutely no fucking budget to make this movie but I am going to try anyway because I am a masochistic asshole" budget, so your tools must be tools... no more and no less.
For me, there are specific features that I have come to rely on in a camera... focus peaking being one of them... but I don't need it. What features have you come to rely on... do you need them? The problem really is that the BMPCC is not that expensive of a camera and I'm unsure it would be wise to sell the camera to pay for one costume, for one short. In 3 to 6 months when that short is done and you are looking toward your next project... then what camera will you want... or need?
With that being said... yeah fucking sell the BMPCC. Get a GH2, or a G7, or better yet get an AF100... I've seen them selling for around $500. Go bold and tell a cool story and when you're doing junkets at a festival tell them why you chose to make your short with a 5 year old camera... just make it sound cooler than I wanted money for a costume.
Actually this would be a cool challenge for those who still have access to their t2i, or GH2, or D5xxx... make a 3 minute short, in a month, and post it in the shooting section... we'll vote on a winner, but to keep it fair, only the members with a hundred posts or more can vote so we don't have a bunch of people signing up to vote for their friend... the winner gets one of Reid's cameras... LOL. 

Here's a low budget music video I made with the GX85 and a cheap toy 25mm 1.7 cctv lens. The look is meant to be dirty but what was great was that the GX85, with it's great IBIS, enabled me to get the movement I was wanting. We tried with a Canon C100 and it just wasn't the same. It's an incredibly versatile little camera.

nice, whats it called?
Hello friend sam I have an F35 Sony Cinema Camera in sale in Perfect condition but I am currently overseas performing my medical duties in Cairo. I am willing to sell it for a very low price to honorable board members such as yourself. Please PM me for details. Hakuna matata

I saw a film,
swore to myself it was shot on 16mm
nope it was shot on the red dragon.
(Dayveon)
Then I thought it was shot on zeiss ultraspeeds.
Nope it was Canon K35s, which I think are similar to Canon FD glass.
 
I saw another film,
swore to myself it was shot on the alexa,
nope it was shot on the c300 mark i
(motherland)
 
I was sitting 30 rows in the back, in the front, all over the place.
I couldn't tell anything
After all that,
after everything we do, and say,
at the end of the day,
none of us can tell.

Heres my latest entries :
 
 
This last one is still private, its only due next week, but since this is a specialty forum, there should be no harm. Everything shot on the NX1+16-50s 2.8, and graded with my own Vellichor luts, available for purchase here if any of you wants to have a look - https://sellfy.com/p/HNAk/

Hope you guys enjoy :D

Yes. Send the money to the bank details ive sent you and ill have it delivered to you in a few months.

We need conversion kits. Hardware hackers. To take a G7, strip it and fill it with BMPCC internals. :P

You just need the right adapter, with the Metabeans Speed Roaster your GH5 can do an espresso just fine! 
Just make sure your sensor gets really hot!

Would like to know what you think about our newest work.
Shot with the infamous Panasonic GH4, internal V-LOG 8bit, -5/-5 NR and sharpness. Used Panasonic lenses: 12-35mm 2.8, 20mm 1.7 and 42.5mm 1.7. Used a Tiffen Black Satin Filter to get rid of the sharpning artifacts still left over at -5 and add some smoothness to highlights and shadows.
Budget: about 0$.
 

I don't know if I'm still up to the job.  I've put on a few pounds.

This is all with Lumix G7 and the 12-35mm.
The shots that don't appear to be on steadycam are handheld (all of them) with post zoom ins and outs (plus warp stabilizer) so for me hands down on the O.I.S of this lens which is super great and probably better with Dual-OIS.
 
 
While you zoom in with the lens there are 3 (or 4) stages throught the zoom that you see a flicker (sorta like going brighter) but only when you zooming slowly. If you plan on doing works where you have to zoom in quite slow you'll definitely see it.

Very nice video Ricardo, very impressive. May I ask which steady did you use?
Also what about the jittering problem have you noticed any? Regarding the flicker I guess if I plan things right I can shoot 4k and then crop from there...

Very Nice!

Looks like you've found the reference image Sony's engineers used for skintones.
Maybe Magic Lantern can hack the pizza and reverse engineer the cheese to make it look more appetising?
Then Sony can take delivery from the pizza boy and start all over again.

What was everyone's favorite new camera or lenses or lighting?
Mine is the ice light - cool little light.  don't know if it came out this year.
thread of the year is Ebhrahim's Epic Rangefinder journey.
Sorry, had to get that in there.
That was about 30 hours of my life.

You are still  confusing a lot here.
Take a well lit scene with some shadowy parts.
The darkest 5% of the image will be noisy (unless you add more light or open the aperture or increase shutter angle and are thus able to reduce gain/ISO).
The brightest 1% has one or two colour channels clipping but not yet the third one.
Dynamic range tells you how dark the black (with details remaining) and how bright the white (without clipping) can be.
 
Going from 8 bit 4:2:2 to 10 bit 4:2:2 doesn't change any of that.
 
It DOES change that you suddenly can distinguish 3 additional tones for each of the 3 colour channels. (That's not 3*3*3 but 3*2^10 - 3*2^8 additional colours.)
* So a very gradual fog or sky will have less visible steps.
* You may get a much better green screen (although that's mostly by going from 8bit 4:2:0 to 10bit 4:2:2).
The darkest 5% of the image are still noisy. That doesn't change.
The brightest 1% still clip one or two colour channels.
What does change is that the 94% of the image that are well exposed suddenly resolve a lot more colours that have formerly been indistinguishable.
What does change is that any colour grading that expands a part of the brightness, saturation and/or tonal spectrum will have a lot more steps to work with and can thus be done more boldly without introducing ugly steps in gradients. This is important to a lot even when delivering the final result in 8bit 4:2:2 .
These people are already doing 10bit recording with the existing GH4/GH4R and they do it for very good reasons. So obviously it is important even without increasing dynamic range and/or decreasing thermal noise from what the GH4/GH4R offers. They just can't do it INSIDE the camera yet and have to use external recorders. Having a clean 4:2:2 10bit output was one of the major improvements of the GH4 and GH4R.
 

Are you on glue?

Hey,
I visited Japan for a week, and tested out the 5D III and to see what it can do with Magic Lantern. 
 

I do a fair amount of music demos and the 1DX II has been amazing on a gimbal. I LOVE the 4K, and the AF isnt just for shallow DOF movement. Big long pushes with deep DOF still benefit from the DPAF. But keep in mind that the sweet touchscreen isn't available on a gimbal, I'm currently testing ways to get it to work with my iphone.

This is a teaser for a Music video, so not synced up or anything :
 

So, trying to function as professional in the industry is more about people skills than not.  At least that's been my experience at the level I'm at.  No one's ever going to hire me because I have a craft level that's superior to those in the upper echelon of film making.  I'm just not that guy.
Which leaves me in a precarious situation --as most of the time the work I'm doing has been quick boutique "one-offs" wherein I go in for a day or two, gather footage, then take it back to the homestead and edit it together.  Rather simple, small and fun stuff to do.  Nothing special about that.  12 year olds have better equipment and do the same.
The tough situation I'm facing is that my ability to tolerate a difficult client has diminished.  Maybe it's a sign of getting older?
This is no small thing.  Seriously, the desire to coddle a client has seemingly disappeared.   For instance, I'm working on a documentary thing where the client is so maddeningly absent minded, she has forgotten about shoots, called me in at the last minute to locations, sent me on location for shoots that are irrelevant to the product, has failed to produce shoots that offer any useable coverage, won't stop talking (about herself) to the documentary subjects on location to allow clean b-roll of said subject, doesn't seem aware that words from an interview require some sort of image to cover the endless droning of a talking head, refuses provide interview (trans)scripts with accurate time-code, etc, etc, etc.... 
Basically, she's kind of incompetent (from my point of view) to direct documentaries.  Nice person, but her choices and process are maddeningly pathetic.  Nevertheless, she's paid me a flat rate to do all this stuff for her.
Aha!  Therein lies the problem.  
Never, ever, work with a bad client on a large project for a flat rate. --AND ALWAYS assume first time out of the gate, no matter how sweet they are, that you're getting in bed with a potentially difficult client.  You'll end up being exploited and resentful; resentful to your client and resentful to yourself for agreeing to such ridiculous terms to begin with.
Anyway, that's my advice.  How to y'all cope with a shitty client?  I drink lots and lots of wine and get fatter.  You? 

The filmic look comes from dynamic range, but unfortunately not all cameras have enough to have that filmic look, therefore we raise the black levels to mimic that style. Its a stylistic choice, I dont like vibrant looks, to me, thats as vibrant as I would go. But I dont think its the cameras fault, its as versatile as any other camera.
This is a friends work, also with NX1 :
I think the NX1 has a much more pleasing look than any of the sonys for example, specially after trying my new a7sII, its very easy to have terrible skin tones.

Have fun.