Michael Coffee

Haha yeah, looking to pick up a pocket for about 600.. I had a 50d for a while, but sold it on before I could fully check out the RAW - only had a slow cf card. I was also considering a 5D mk2, just love tiny cameras too much though! What would be really cool is a pocket with stabilization and dpaf - an eos m5 could almost be this camera.. some amazing cameras out there for under 1k

I'd be happy with s16 and mft for 1k, and use the metabones speedbooster - after working with some BM 2.5k footage, I've decided to get a Blackmagic and forget about the Panasonics and Canons etc! An EF mount would be a great option though, for sure..

A new BMPCC with the 2.5 k sensor would be awesome

11 minutes ago, mercer said:

But Canon just released the 5d mark 4? 

I actually think that eos-m5 may be their flagship mirrorless... Or should I say, their 5D of their mirrorless line. They introduced the base consumer model, the m10 last year, so it seems like maybe they are delineating their mirrorless models?

It does happen alot, ie Nikon going from d5300 to d5500 etc.. once you know about this superstition, you see it in lots of Japanese stuff.. I remember talk before the gh4 was released speculating if they would skip the 4, but the thinking was apparently that it would tie in with 4k..

On 06/09/2016 at 4:19 AM, mercer said:

I thought the DCI crop for the mkiv is 1.64-1.75 (arguably) but yeah you're probably right, 4K is highly unlikely. I just wouldn't be surprised by anything with Canon. It is curious that they're skipping the eos-m4 moniker and going to the m5, though. It's also curious that they are announcing the m5 at Photokina and not the highly rumored full frame mirrorless that they're supposed to be releasing by year's end... unless they're one in the same. 

4 is the unluckiest number in Japanese culture - it gets avoided like 13 in the west

I thought the footage looked somewhat Canon like (not suprising, ha) - some of the shots blew me away - the water fountain CU and the last shot on the hill. The anamorphic looks nice to me too... Now just pop this look in a $2k mirrorless body please, haha

Hey 4kfan - great looking video - nice sound - not sure about the slo mo in the middle

I reckon it looks great for sure! Well done!

Not quite US 250 for 2 transmitters and a receiver, but yeah, those Saramonics look good. Also the Audio Technica system 10 series.

Ok - haven't had alot of experience with on board mic's. I feel like being nit picky about Rode to offset the bias from the really impressive customer service!

Rode could surely put some time into a low handling noise, modular socket/ribbon cable/adapter solution to the audio interface. Also, how about a multi transmitter, on camera wireless lav pack solution for about us $250

It might help me here, being in Australia, all I can say is give them a call, or send another email, Rode seem to really look after film makers, as far as hardware support goes I am really happy.

To be even more parochial to Rode, howabout contact Plural Eyes - they have a great reputation for their software, and if you look at Rode as the hardware company and Plural Eyes as the software - it it were me I would be contacting Plural Eyes as the software experts. Ok Rode have some responsibility, if it is a software issue though Plural Eyes themselves would be the better solution I think.

As far as hardware support goes - to me Rode = best! Good luck Sanveer getting the Plural Eyes going!

34 minutes ago, IronFilm said:

This reminds me, I have a dodgy cable from the blimp & broken lav which I need to get around to emailing RODE about. Hope it goes as well for me as you!

Hey, I am sure they will send you a replacement.. I have heard amazing things about the blimp, but I have to say the Rode Videomic pro I have here - ok, it is light, sounds great, and they have great support - but, the cable on the thing seems to be about as solid as a piece of well cooked spaghetti. For the flagship camera mic solution, the cable quality seems like a $30 USD Aliexpress mic.

For a mic like this, how about a moulded socket with a few ribbon type cables and adapters?

Hi everyone, please share any experiences you have had with Rode's customer support. 

They have just resolved an issue for me that that exceeded the highest expectations of customer service for me.

Now I live in Australia, and have heard some incredible stories about Rode's customer support from their original beginnings in studio condensor mic's. After buying my first ever Rode product, a videomic pro, Rode sorted out a shockmount issue in a 5 minute phone call and 1 email. Consider me an instant convert for life

The mic itself, while not perhaps being the very ultimate in shotguns straight out of mic, gives an extremely workable sound for me, so very happy there too. 

After hearing some almost unbelievable stories in the past, about Rode's customer support from their studio mics, who else has had experiences with Rode customer support? This is so crucial to me with a gear company, and Rode now have a total advocate for life in me with their support! Thank you Rode, I am a proud Aussie today

I can't say enough good things about them, and will be amazed if anyone has not had the best customer support from Rode. Wow.

Thanks again Rode, cannot recommend enough. 

Hi, regarding Rode mics, letting everyone know I just had a really great customer service experience with Rode.. possibly the best customer service experience I have ever had! 

8 hours ago, jagnje said:

I have a question about stabilization...when using vintage manual lenses there you have to enter which focal lenght you are using right? So does that mean that if I use a vintage zoom lens I have to recalibrate the camera every time I change the focal lenght?

This is technically correct, though I remember one poster earlier in the thread saying they got acceptable results putting in the middle range of their zoom (say 35 on a 18-55) and getting good results - experimentation would be the key here methinks!

Could someone do a jello test at 4k and 1080p? I'm hoping it might have a good result at 1080p if not at 4k..

6 hours ago, nac said:

Anyone try out the hack to change 25p to 30p? I have a 25p and panning is poor, wondering if 30p would have any improvements over 25p.

I think the G7 has high rolling shutter.. might be alot better at 1080p, can someone test this?

The rolling shutter on the GH4 seems to be alot better in 4k than the G7 according to some reports - http://www.funtechtalk.com/rolling-shutter-test-video-panasonic-lumix-dmc-g7-vs-gh4-camera/ - has anyone seen a number for the G7? 

This list has been my main resource looking up rolling shutter times http://www.dvxuser.com/V6/showthread.php?303559-Measuring-rolling-shutter-put-a-number-on-this-issue!

3 hours ago, IronFilm said:

Does he hack the newer cameras that gets sold on via his site and is that why those don't have the recording limit??

Ha, don't think any Panasonic since the gh2 has been hackable - maybe the cameras with no recording limit are non EU models?

Eos M h264. Deliberately blown out, just a test to see if the highlights could be pulled back... seems to be more info recoverable than on the Panasonic GX7

Another guess the camera, quick Resolve pass, no power windows or colour wheels, just levels and saturation with an Impulz Kodak Vision 3 50d lut

Before

After

Before

After

Good video auto focus, 10 bit, low rolling shutter, bluetooth audio input, wifi video and audio streaming, better wifi remote control..

UV or IR filter? Maybe even a polarizing filter - the light might be polarized differently on the edges of the projector beam. Definitely some crazy interaction going there with the projector light and the camera/lens - like a CA type effect..  maybe try different colour profiles on the camera, or even different lenses. Let us know if you find a fix for this one! I have seen this type of fringing on lights sometimes, along the edges of the beam.

16 hours ago, Hans Punk said:

 

 

On 03/08/2016 at 9:04 AM, Hans Punk said:

 

The BM cameras are obviously a great fit for modern production use, especially since shooting compressed raw gives a very comparative quality to even the highest end cinema cameras. They can deliver fantastic images in the right hands. Saying that, at least one of the BM shots in the Bourne trailer sticks out like a sore thumb to my eyes.

This quick cut was the one I really noticed..

Done in post - colour keying such as with the qualifier in Resolve.. http://www.premiumbeat.com/blog/isolated-color-look-resolve/

There are a few methods to do this, but afaik no dslr can do it in camera - smartphones usually seem to be ahead with the built in filters and effects, but it seems dslr's are catching up..

7 minutes ago, sanveer said:

There appears to a Column in the Menu for something called [Cross Process] with [Green Tone/ Blue Tone/ Yellow Tone/ Red Tone] on Page 89 of the Menu. Is that for Isolating that particular colour and leaving everything else in B&W?

https://eww.pavc.panasonic.co.jp/dscoi/DMC-GX80/EG_EC_EF_EB/guideENG.pdf

Cross process is developing a film with the process from a different film

https://en.wikipedia.org/wiki/Cross_processing

I think most of these filters only work for stills on the Panasonics

On 03/08/2016 at 10:34 AM, Liam said:

This seems like decent time to ask this.. I forget what the technique is called where you have two mono audio channels recording, set at different levels, to have a back up if one of them clips, like increase the dynamic range of the audio. Without the name it was impossible to research how to do it. Feel like that would be an awesome tool to get something usable on set.

Also seen this referred to as audio bracketing

Hi, just guessed because I saw you had posted about the a6300, and it didn't look obviously Canon/Panny... I thought it looked great, saw some fs5 footage the other day that I'm looking for now, it seems when these Sony's are done right, you can get a wonderful look that is somehow very neutral, yet saturated looking..