Michael Coffee

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

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

T2i. There's not that much recovery going on. It's just filling in the blanks with slightly less blank. Although it looks to blend more well with the sky opposed to the curtain.

eos-m raw?

Wow, that's really awful. Are you sure you're managing your super whites correctly? There doesn't appear to be any detail recovered by the LUT. Try with curves and lift/gamma/gain, anything happening before the LUT. If the LUT is working in RGB, maybe it's losing the extra detail in the YUV to RGB step. I wouldn't blame the camera for such poor performance before looking at the node tree and seeing if the LUT is recognizing super whites. 

What sorts of things could they realistically do to improve the usefulness of their video? And why aren't they doing these things, given they don't need to worry about protecting higher end video cameras.

This might be a single chip DLP projector with a colorwheel. This means that every frame is projected several times with diferent colors. You can easily check this by moving your hand in front of the beam and see with your own eyes if the motion blur is colored (3 or 6 colors, I believe). If the beamer is DLP you can probably up it to 100hz or even more, then select the lowest shutter speed possible (this is just an idea that could work).

Hi Ty,
It should fill the card if you trigger the flag in the    Ml raw menu to record in exfat. I am using firmware 1.1.3 of the 5d3. Check out ml forum for more info on exfat recording. Your card also has to be formatted as exfat when that mode is triggered. 

It's a known issue that 5D3 1DX 1DC and other Canon DSLRs don't work well with 256GB cards, better have multiple 128GB cards.
1DX II however improved support for larger capacity CF cards.

well I went to see Bourne last weekend and the cuts are so fast and the camera is moving so much that you have no idea what camera is what on the big screen , there are no shots that jump out as being bad or not fitting with the previous Alexa footage , it works they did a good job , now on most major films they are using what ever camera suits each shot / set up...... Bond Spectre was the same Film and Digital combined and multiple camera and formats Anamorphic , Spherical Alexa 65 and 35 all made it into Spectre

Think my eyes a bit too sensitive to it...since I work a bit in post production, and have had to deal with matching/fixing shots similar to this in the past. I'm sure these shots work when viewed in the context of the film, even when I notice these things at a screening I often don't care.
But I'd love DP's to not defaulting to 'disposable' digital cameras (as they sometimes regard them) without first considering older compact film cameras (that are now dirt cheap) - that will often deliver better options in post for matching to the main unit cameras. The shots from these crazy stunt/crash/pyro shots are often the ones put front and centre in a movie trailer, so I think it's worth the extra effort to consider quality over convenience IMHO.

Quite noticeable desaturation/colour tone shift compared with neighbouring shots...micro shake of smaller camera body in motion...apparent big lift in contrast compared with other footage....has a 'smeary 360 degree shutter look'. These are almost certainly the pocket/micro shots, there are probably a few more that I'm not spotting but those are the ones that stick out as a 'sore thumb' to my eyes.
like I said earlier, if it makes up part of an engaging sequence that by which point the audience is along for the ride (often literally) - then nobody should give a f**k if they intercut technically mis-matched footage. If it works in context, it works.
But my observation is that when a DP says that they are dealing with great footage in post, and imply that these cameras cut in seamlessly with A&B cameras are either a bit blind/ misquoted/ or has concesiously decided that any mismatch will not take the audience out of the experience when cut together (which I agree it should not matter...as long as the shot is cool enough).
It is possible to grade these tiny cameras to intercut seamlessly, but unfortunalty this DP (and many others on other recent films) seemingly decide to use them as glorified GoPro's - often revealing the slight shortcomings of image quality when exposed to very dynamic lighting and motion. The shots in the trailer I noticed looked like a saturation and slight contrast punch would have been of benefit to match the neighbouring shots. Feels like they left those shots pretty flat - to retain as much shadow detail as possible, yet forgetting that in the flow of a sequence, any contrast or saturation jump can sometimes look way worse than crushing any blacks.
Ironically, a 70year old Eymo wind-up 35mm camera (which I keep banging on about) - would have probably performed way better in terms of being able to match any surrounding shots, as the nature of film can still handle highlight roll off and dynamic exposure manipulation with a lot more grace than most of the highest end digital cinema cameras. 

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..

If you're a premiere user, the new lumetri color panel offers a quick and easy way to nail this kind of look, you can just click the little color buttons on the wheel and boost what you want, and pull everything else down to full desaturation. Sometimes it works better than others though, for example on the two examples posted there might be red in the skintones that sticks around a bit. It is very fast and simple to use though. 

Thank you so much for the reply. I guess, now I know what cross process would imply on the menu. Also, thanks for the PremiumBeat link, it is extremely informative. Maybe I will have to do it in post. Hopefully I won't have to use a RAW or ProRes camera, only for this, and the H.264 is sifficient. 

I am disappointed though, that DSLRs/ DSLMs don't have similar features to smartphones. Kindda sad. 

Also seen this referred to as audio bracketing

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..
 
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
 

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.

Well, as a long-time NX1 shooter, I'll say it's pretty fantastic. You can get a really beautiful, cinematic image with it. It can really, really sing with old lenses - like 60's/70's glass, Canon FL or the various screw-mount stuff, aperture-ring Nikkors (I'd get adapters while they're still around). The native glass seems awfully "clinical" to me. The H265 is a real space-saver - even if you convert to ProRes to edit, you can shoot all day without a ton of cards or SSDs. If you use an external audio recorder and good mics, you can run the camera-out into the NX1 and if you're careful, you can get fine audio without having to synch in post (though I would 100% advise you still record externally too). 
4K is absolutely the shit for reframing or post-stabilizing... but the jello at 4K is abysmal. At 1080, the jello is in the best-in-class range (but it ain't global-shutter class, it's still there). So - handheld or real action stuff, shoot 1080. I only shoot 4K if I know I'll reframe. AF can be useful, but you might test low-level (1/4) diffusion, pro mist or black pro mist, with NX glass. "Iron Man" was shot with 1/4 and 1/2 pro mist (black I think?), and we don't think of it as a "diffused" movie at all.  
Where it fails is where the BMC stuff really kicks in - DR. Doing outdoor work or indoors where you want to hold a sky through windows, you'll need lighting - indoors a 575 HMI par is the bare, bare minimum and a 1200 would do much better. Outdoors, HMI or a very well-executed reflector and scrim setup. That's if it's bright and sunny and you want to hold sky color and detail. And overall, shooting flat with lighting, not camera profiles really helps. Some big, soft fill sources to bring up shadows so you can tamp them back down in post. I've played with the Andrew Reid conversion and luts, but you run the risk of big, chunky, moving noise if you go too far. Get close in-camera. But those issues are the same with most any 8-bit, non-raw camera. You really have to plan for highlights and deep shadows, and I'm a believer in printing out plenty of color reference (send images to a photo print place - have good prints) and attaching to your storyboards, and setting yourself up on set for a successful grade. It's no Alexa.

That interview is pure gold! He sounds so humble and surprised on all of what happened after lights out. Really nice.

Thanks Michael. I think I'll go for it

thats why I got hired for the movie!!
  I come from a pop video background for 20 years ,I always shoot with gels on my lights , the Director wanted a very modern bold stylised use of colour , he came to me to design the whole look and style of the movie , so I have used different colors and contrasts of colours through out each section of the movie so each scene has a look to it , It was  a very small crew I was DOP and Gaffer ,so I lit the entiremovie myself as well as shooting it .I have big lighting package I brought to the movie of 25 Arri Fresnels , (1k pups , 650s , 300s 150s etc) and kinoflo tube lights 
yes I do use Lee gels all sorts of colours plus I shoot alot at 4000k for interiors the Panny looks better at 4000k than 3200k , just that bit warmer , I shoot day exteriors at 6500k and all my night exteriors at 2500k , yes I do try and use contempory colours there is modern colour palatte in the industry I have embraced alot , this movie has no day exteriors in the whole script , all the exteriors are night time so I got to play with the colours alot which was fun gelling all the Arri HMIs at night I used alot of Peacock Blue and 1/4 blue.
Lighting is a totally subjective subject , I like to treat it as a completely creative tool to help tell the story and a contast in light and dark is also complemented by a contrast of colour in the lighting , why limit your self to what I call boring plain 'white light' , you dont have to just use your lamps as is , gel them with colour and diffusion , most of my Fresnels have F1 diffusion on them all the time , (I rarely use undiffused lamps) ...along with a gel , if you want to play around with this then just get some full CTO and Full CTB gels and start with that , the possibilities are endless!! get creative......

good stuff.
I think if this blog wants to survive, and probably Andrew is tired of it (I would be too) - it should transition into talking about lenses, lighting, camera movement technology.
I think as of now we are seeing a peak of what is possible with CMOS camera technology.
All newer innovations to me as minor.
But lighting and camera control tech continues to innovate, get cheaper, and get more beautiful.
But like I said, I'm sure running this site is not fun anymore.

This? http://www.aliexpress.com/item/Mini-LED-Fresnel-Spotlight-with-barndoor-and-Filter-For-Canon-Nikon-Sony-Camera-Camcorder/32639068850.html?ws_ab_test=searchweb201556_7,searchweb201602_4_10057_10056_10055_10049_10059_10058_10017_405_404_10040_10060_10061_412,searchweb201603_7&btsid=5f74a7d1-07ff-415f-bb80-a41433c73766 
 
That Apature m9 looks pretty awesome

Yeah here's what I did once when recording a comedy show (similar to tupp). Tap into the board and feed an XLR into your recorder. Set up one of the Rode mics in the back of the room pointing toward the stage. Set up the other Rode mic near the stage pointing back to the crowd (for laughter). Comedians really want to have that live room feel and not super dry feed off of their stage mic.