DPStewart

Very Insta-resting.

Very Insta-resting.

OK folks - here's the complete product link list from the video.

Lord have mercy - that is one tedious process. The dang sellers had better NEVER change those links or I'm crackin' skulls! 


Products discussed in my Video in the original post:

 
"One size fits all" Cage - $149
Movcam BMPCC Cage  - $323
Fotga Follow Focus - $170
Follow Focus Speed Crank - $13
Giottos Quick Release Adapter - $38
Offset Riser Clamp - $18
Cavision Matte Box - $99

Cavision Matte Box Rail Mount Clamp - $28

Cavision Matte Box Riser Bracket - $15

XT Power Battery - ~$60 (On today's date - Feb. 24th it's out of stock like I mentioned might happen)
Fotasy Rods - $15
Fotasy Rod Connectors - $5
Neewer Handles - $30
Fotga Shoulder Pad - $15
Flashpoint Counter Weight - $30
Glide Gear Portable 4" Jib - $159

Davis & Sanford Bowl Mount Tripod - $159
Davis & Sanford "Airlift" Tripod (The taller one) - $149
Carry Cases - Stanley "FAT MAX" Tool Box - $35 online price. (Will almost always be only $25 if you can find them locally.)
 

over the past 2 years I have bought and used every make of speedbooster that has come out , and without a doubt the KING DADDY of them all for shooting on a 4K Panasonic camera is the Metabones XL - that x.64 glass is amazing , giving you a Super 35 field of view back to your lenses and gets rid of the 2.3 crop factor totally - the Metabones XL turns the 4k Pannys into a very serious piece of film making kit - so much so Im uing 4 Metabones XLs on 4 Panasonics G7s to shoot the feature film I'm DOP on - its that good!!

Having used so many cameras on many different shoots, I can absolutely agree the camera choice has a tremendous effect on the final end product. 
Sometimes it's the wrong choice. Once for aesthetic reasons I chose a RED, but operating it held the entire production back creatively - so it ended up with pretty visuals but an average video at best. 
It works the other way round too. I bought the Sony RX10 II and ditched it after 3 shoots. Hated the aesthetic, the lens, the sensor size, noise performance. Replaced the lower end stuff with an A7SII and people are saying "the quality has gone up several notches"....
You should never be held back shooting though.If a Canon 550d/T2i is all you have then go for it!

Really this is all stuff you can do even just in Premiere or Resolve or FCPX.
It just takes a lot of work because YOU must make a LOT of decisions about each and every clip in order to get these kinds of edits to work visually. This is why software really can't do it for you. By the time you've told it all the parameters you want it to follow for a particular pair of clips - you've basically completed the edit yourself already.
However, depending on how you shoot the "frozen in space camera" effect, you may often need to use a tracker like in AE.
Re-framing, key-frames, blur, and zooms/pans will do pretty much all of the MANY other types of edit-transitions featured in this piece.

A lot of this relies on a very basic principle of editing - "line of sight".
When you line up the main subjects of the clips that are drawing the eye to them, then there is less jarring movement of the viewer's eyes that is required in order to easily and quickly focus on the subject of the next clip.
 

Yup.

I'm currently just using Andrew's NX1 LOG converter and his whole recommended setup - no alterations. Then I add an Osiris or Canon/Arri LUT and I'm done. (or a few customized BMD LUTs I have.)

After moving from Panasonics and Canons to Blackmagic RAW I'm just burnt out on battling compressed codecs and picture profiles and all the zillion possible settings.

There are no "settings" on the Blackmagic cameras really. You shoot at the native ISO or 1-stop above or below pretty much only. The you just white balance and set your exposure and shoot. You either like how the camera looks or you don't. I absolutely frikkin' LOVE how the BMD cameras look so I'm DONE.

That awesome Hong-Kong video that Dean posted a few pages back convinced me to try Andrew's package. I'm sold.
It's really so good that I'm not interested in doing any further nit-picking. 
I LIKE that look and it can cut with the BMD footage so I'm happy. It does what I need it to do, and it does it reliably.

I suppose I would still be interested in other picture profiles or settings on the NX1 if it was my 'A' camera, but it's not. I need it to cut with the Blackmagics.
Plus I just personally REALLY like the look it gives in general. 
What a relief, ya know?

Remember folks that LENS choice has a HUGE impact.
The 4k cameras can very easily suffer from TOO sharp an image. That's one reason the NX1 usually dosn't look nearly as smooth as the 1DC or the BMPCC. The Samsung lenses can be extremely sharp. 

Motion cadence is unique to each camera maker usually.
Some folks can see the difference, others can't.
If you ask enough people, the Blackmagic Cinema and Pocket cameras frequently rank very high, as do the Canons if they are shooting an all I-Frame codec

Having seen many test comparisons done, I can tell you this - you'd be shocked by how similar many cameras can look when you put the exact same lens on them and shoot the exact same scene.

Yup.

I'm currently just using Andrew's NX1 LOG converter and his whole recommended setup - no alterations. Then I add an Osiris or Canon/Arri LUT and I'm done. (or a few customized BMD LUTs I have.)

After moving from Panasonics and Canons to Blackmagic RAW I'm just burnt out on battling compressed codecs and picture profiles and all the zillion possible settings.

There are no "settings" on the Blackmagic cameras really. You shoot at the native ISO or 1-stop above or below pretty much only. The you just white balance and set your exposure and shoot. You either like how the camera looks or you don't. I absolutely frikkin' LOVE how the BMD cameras look so I'm DONE.

That awesome Hong-Kong video that Dean posted a few pages back convinced me to try Andrew's package. I'm sold.
It's really so good that I'm not interested in doing any further nit-picking. 
I LIKE that look and it can cut with the BMD footage so I'm happy. It does what I need it to do, and it does it reliably.

I suppose I would still be interested in other picture profiles or settings on the NX1 if it was my 'A' camera, but it's not. I need it to cut with the Blackmagics.
Plus I just personally REALLY like the look it gives in general. 
What a relief, ya know?

Yup.

I'm currently just using Andrew's NX1 LOG converter and his whole recommended setup - no alterations. Then I add an Osiris or Canon/Arri LUT and I'm done. (or a few customized BMD LUTs I have.)

After moving from Panasonics and Canons to Blackmagic RAW I'm just burnt out on battling compressed codecs and picture profiles and all the zillion possible settings.

There are no "settings" on the Blackmagic cameras really. You shoot at the native ISO or 1-stop above or below pretty much only. The you just white balance and set your exposure and shoot. You either like how the camera looks or you don't. I absolutely frikkin' LOVE how the BMD cameras look so I'm DONE.

That awesome Hong-Kong video that Dean posted a few pages back convinced me to try Andrew's package. I'm sold.
It's really so good that I'm not interested in doing any further nit-picking. 
I LIKE that look and it can cut with the BMD footage so I'm happy. It does what I need it to do, and it does it reliably.

I suppose I would still be interested in other picture profiles or settings on the NX1 if it was my 'A' camera, but it's not. I need it to cut with the Blackmagics.
Plus I just personally REALLY like the look it gives in general. 
What a relief, ya know?

Remember folks that LENS choice has a HUGE impact.
The 4k cameras can very easily suffer from TOO sharp an image. That's one reason the NX1 usually dosn't look nearly as smooth as the 1DC or the BMPCC. The Samsung lenses can be extremely sharp. 

Motion cadence is unique to each camera maker usually.
Some folks can see the difference, others can't.
If you ask enough people, the Blackmagic Cinema and Pocket cameras frequently rank very high, as do the Canons if they are shooting an all I-Frame codec

Having seen many test comparisons done, I can tell you this - you'd be shocked by how similar many cameras can look when you put the exact same lens on them and shoot the exact same scene.

Argh! I typed a silly long post and then hit backspace outside of this box and ... poof ... it's gone
OK, shorter version:
If you start telnet server as described and connect to camera you can do following:
killall dfmsd; sleep 2; dfmsd -p &
This will kill original dfms daemon and start a new instance that we can now use by dfmstool command that sends commands to daemon like this:
dfmstool -s "this is a command"
Be careful, as soon as it encounters an invalid command it stops processing all other commands so we need to do killall... to restart it (it does not affect the camera state).
The command we want is sys_param movie size 2560_1440_30p. Yup, it's still in the firmware, it has no crop and it supports peaking. Why they removed it from the menu I have no idea. It's labelled as MJPEG on screen but it records HEVC as others and is limited to 29:59.
dfmstool -s "sys_param movie size 2560_1440_30p"
Here's what ffmpeg has to say (I have to find a way to set the quality as well):
Stream #0:1(eng): Video: none (hvc1 / 0x31637668), 2560x1440, 11280 kb/s, 29.97 fps, 29.97 tbr, 120k tbn, 120k tbc
Oh, yeah, remember how there is no 1080p at 120fps in NX500? Think again:
dfmstool -s "sys_param movie size 1920_1080_120p"
And output of ffmpeg:
Stream #0:0(eng): Video: none (hvc1 / 0x31637668), 1920x1080, 38589 kb/s, 119.88 fps, 119.88 tbr, 120k tbn, 120k tbc
If you really want to you can put just the command in the nx_cs.adj file and call it a day (dfmsd will parse it and finish) or put a small script in test.sh that will do it for you (there is no touchscreen available while dfmsd is running). You could have SD cards for special video modes to simplify it.
For NX500 full list of modes is
4096_2160_24p
3840_2160_30p
2560_1440_30p
1920_1080_120p
1920_1080_60p
1920_1080_30p
1920_1080_24p
1920_1080_15p
1280_720_120p
1280_720_60p
1280_720_30p
640_480_60p
640_480_30p
For NX1, full list of modes is (yeah fractional ones too, don't know whether they are just for show or are there really differences between 24 and 23.98 when recorded)
4096_2160_24p
3840_2160_30p
3840_2160_24p
3840_2160_23_98p
1920_1080_120p
1920_1080_60p
1920_1080_30p
1920_1080_24p
1920_1080_23_98p
1920_1080_15p
1280_720_60p
1280_720_30p
640_480_60p
640_480_30p
Well, that's it for now, have fun

Remember folks that LENS choice has a HUGE impact.
The 4k cameras can very easily suffer from TOO sharp an image. That's one reason the NX1 usually dosn't look nearly as smooth as the 1DC or the BMPCC. The Samsung lenses can be extremely sharp. 

Motion cadence is unique to each camera maker usually.
Some folks can see the difference, others can't.
If you ask enough people, the Blackmagic Cinema and Pocket cameras frequently rank very high, as do the Canons if they are shooting an all I-Frame codec

Having seen many test comparisons done, I can tell you this - you'd be shocked by how similar many cameras can look when you put the exact same lens on them and shoot the exact same scene.

Remember folks that LENS choice has a HUGE impact.
The 4k cameras can very easily suffer from TOO sharp an image. That's one reason the NX1 usually dosn't look nearly as smooth as the 1DC or the BMPCC. The Samsung lenses can be extremely sharp. 

Motion cadence is unique to each camera maker usually.
Some folks can see the difference, others can't.
If you ask enough people, the Blackmagic Cinema and Pocket cameras frequently rank very high, as do the Canons if they are shooting an all I-Frame codec

Having seen many test comparisons done, I can tell you this - you'd be shocked by how similar many cameras can look when you put the exact same lens on them and shoot the exact same scene.

Remember folks that LENS choice has a HUGE impact.
The 4k cameras can very easily suffer from TOO sharp an image. That's one reason the NX1 usually dosn't look nearly as smooth as the 1DC or the BMPCC. The Samsung lenses can be extremely sharp. 

Motion cadence is unique to each camera maker usually.
Some folks can see the difference, others can't.
If you ask enough people, the Blackmagic Cinema and Pocket cameras frequently rank very high, as do the Canons if they are shooting an all I-Frame codec

Having seen many test comparisons done, I can tell you this - you'd be shocked by how similar many cameras can look when you put the exact same lens on them and shoot the exact same scene.

Remember folks that LENS choice has a HUGE impact.
The 4k cameras can very easily suffer from TOO sharp an image. That's one reason the NX1 usually dosn't look nearly as smooth as the 1DC or the BMPCC. The Samsung lenses can be extremely sharp. 

Motion cadence is unique to each camera maker usually.
Some folks can see the difference, others can't.
If you ask enough people, the Blackmagic Cinema and Pocket cameras frequently rank very high, as do the Canons if they are shooting an all I-Frame codec

Having seen many test comparisons done, I can tell you this - you'd be shocked by how similar many cameras can look when you put the exact same lens on them and shoot the exact same scene.

I agree with everything stated above. Let me just elaborate on an aspect apparent in any Micro/Pocket-clip and particularly in the Training Day clip: sensor size vs. focus vs. aspect ratio. I think the cinematographer did a good job, considering it was handheld and focussed manually, but ...
For 16x9 (or 17:9, cinema widescreen), S35 (or APS-C, let's not split hairs here) seems (to me) to be the ideal sensor size. Yes, I know, a lot of factors contribute to sDoF, bokeh (aperture with or without the need to compensate for light conditions, pixel size with circle of confusion, sensor dimensions), but generally S16 is an unfortunate choice. Like full frame in the other extreme. Full frame is best for 3:2 photography. When I look at my old Praktika 6x6 stills, how creamy everything flows into focus (but still is soft, you need good resolution for that), it looks threedimensional instantly, very sweet. For scope, however, there is little good in anything else but absolute DoF (exceptions prove the rule). Framing has to do with how the motif is accentuated and therefore it influences focussing.
I totally dislike the artificial look of Sony cameras. Even without prominent artifacts or something I could nail down, the image looks processed. The Micro would have been the answer to everything, had it only a bigger sensor.
 

The problem with the magenta wasnt in camera. It was the NLEs not interpreting the DNGs correctly. Before the latest firmware it was easily fixed by switching to BMD film in Resolve or AE.

Well pretty much everything I talked about in the video applies to the Cinema Camera, but there IS one thing...

I JUST got this cage - showed up in the mail yesterday. And I think it's going to be GREAT. - $237. 
It has a lot of similarities to the Movcam BMPCC cage - like the nice big base so the thing won't tip over when you set it down etc..
It looked like overkill to me at first but the price was great and I've had decent luck with "the cine city" before so I ordered it.
Now I can tell I'm going to use this without the left handle - that's just unnecessary for most setups, but I like the right handle with the record trigger for sure.
It's not made as flawlessly as the Movcam but it's definitely good. The included rods are cheaply painted and I already scratched them, but I'll be replacing the bottom rods with 40cm Fotasy rods anyway. the finish on the rest of it is better than on the rods. Some of the rigging it comes with I probably won't ever use - but it's nice to have it all included in the price anyway. You never know what you'l need...

http://www.thecinecity.com/eshop/CAMTREE-HUNT-Pro-Cage-For-Blackmagic-Cinema-Camera-Production-Camera-4K-CH-CPRO-BMC.html

 

For rig parts, rods, risers etc I can recommend www.smallrig.com
They've moved more into cages now that look like very good value (but not tried personally), I've noticed their quality getting better and better...yet prices are pretty low.
I've interchanged smallrig components with my wooden camera cage, and they match almost identically (build quality and finish), but at a fraction of the cost. 

I love it - a non-sequel non-action movie franchaise about the environment is the number one movie in China.  There is hope for the world.

that's really awesome. Stephen Chow deserves it

Talking about the Chinese film industry, I was surprised to see that the Alibaba Group, which I know very well for its ecommerce dealings (mainly AliExpress/Alibaba/Tmall & Taobao), has recently stepped up to be a major player in the film industry. It was brought to my attention when I recently watched the latest Mission Impossible...


Dang China!

Well Hollywood needs to learn the lesson everyone else has - that America is not the world.
China and India both turn out some great films, as does South Korea, and many European countries.
Welcome to Earth, Hollywood.

Well, this kind of material can get a little "dry"... So I try to keep it entertaining for folks.