Adam Kuźniar

1 hour ago, Mako Sports said:

1dxmkii is apsh in 4k 60

gotcha, thanks 

1 hour ago, IronFilm said:

I work alongside ARRI and RED cameras several times a month, often several times a week. 
For many of us that is not unusual at all. 

dude you're so cool oh my gawd  

On 7/29/2019 at 11:04 AM, Kisaha said:

A usual professional system (Rx/Tx and a pro lav) costs 1500€ on average and can go significantly higher (e.g I am ordering a couple DPA 6060 lavalier mics that will reach 800€ each without the accessories).

What did you expect for 200€?

At the moment, the best/cheap solution is the Sony UWP series, and that has a lot of limitations also (especially with range).

So I guess you're only shooting with Arri and Red cameras (because they're professional) using Zeiss Primes (because they're professional) and put it all on O'Connor sticks (because they're professional)? Anything else and you should expect 480p TOPS (because it's not professional) ? 

I hate these kinds of stupid comments. He should absolutely expect a perfectly usable product for 200 euro. Not everyone needs 3km range and perfect crystal clear full spectrum audio that will make sure bride's "yes I do" will be transmitted on hollywood level never seen before on a damn youtube wedding video.

On 7/29/2019 at 12:58 PM, Avenger 2.0 said:

You should steer away from those 2.4GHz solutions. The band is just too crowded and range too limited. Thanks for the warning, would have expected better from Rode.

I've been using my Rode Filmmaker Kit with zero issues in tightly packed convention centers. My drone has more issues being on 2.4 Ghz than the Rode.

10 minutes ago, Gianluca said:

There is no Full Frame 4K60P yet.... Idx2 it's apsh and s1h it's apsc 

I don't think it's APS-H
https://www.digicamdb.com/specs/canon_eos-1d-x-mark-ii/

Did any of you try this guy's kit ? Did you like it ? 
 

1 hour ago, Shell64 said:

So then do you only have to be very specific about your exposure levels when shooting in a controlled scene or in a log profile?  Cause I always hear people say for s-log “2 stops over exposed.”  So how do I get to the perfect exposure?  Or do you just try to get a good exposure and not worry about it being perfect?

Once again - someone will drop by this and correct me - but essentially yes. If you have the time (you're shooting a commercial on a set) then by all means make your exposure perfect. And yes, with certain profiles you have to overexpose but, like you said, it doesn't have to be perfect. You just need to know what's "good enough" and whether 30s more spent on adjusting the exposure to get 1/8 stop more of DR or 1/4 stop less noise is worth it.

8 hours ago, Shell64 said:

How do you determine the “proper” exposure?  I don’t have access to a gray card at the moment. 

Correct me if I'm wrong but I don't think there is anything like that. I mean back in my TV days they teached me to get the skin tones at 70-80IRE but next time you watch any movie or series take a look and you'll see that their exposure is all over the place - some shots are so dark that you can't see anything besides a little edge light on the characters, some are kinda underexposed because they want to show it's overcast/moody, some are balanced.. and I think that last thing is the "proper" thing to do; get a balanced exposure.

Best - false colors

Fastest - exposure meter

In-between - zebras

When I had my G7 I just ETTRd aiming for no 100% zebras showing (of course with expections, not gonna underexpose my subject to avoid blowing out the sun) 

Love it! I don't think that it's distracting or flashy at all in the examples you posted, it's very tastefully done, with clear intent. Sure, the second video is very action-packed but it's not because of the aspect ratio changes, but rather the editing itself. Besides, like you said, it's targeting young people who wanna have fun.

(bonus points for it being a polish ad )

I'm just amazed when filmmakers decide to break the rules, do something different and it totally works. 

18 hours ago, Amazeballs said:

Tokina 11-20 2.8 which becomes 7.5-14 2.0 with a booster. Thinking of getting it myself instead of laowa. If laowa was in 300$ price range I would probably get it. For under 200£ there arent many options. Probably used adapted stuff mostly. 

I had the Laowa and I now have the Tokina - Laowa is definitely sharper, it's also way smaller and lighter and I prefer the focusing ring on it. Also the filter thread is smaller so NDs are cheaper  

But Tokina can zoom in and for someone who only carries one lens when vlogging I really like having the ability to get a closeup. 

Still, often I'm thinking about going back 

Go Laowa 7.5mm f/2 or go home

42 minutes ago, kye said:

Good luck trying to get background blur on the 8mm SLR Magic - even wide open at f4 it's almost the same DoF as the fixed focus of an action camera!  (Not quite, but at f16 it sure is!)

You can get substantial amount of bokeh on Laowa :D 

21 minutes ago, darcyperkins said:

Yeah but I'm not comparing them. I'm comparing the complaints. If company X sells a $20,000+ camera described as "4K" when it's upscaled and nobody complains, then company Y sells a $900 camera described as "4K" when it's actually upscaled and everyone complains, that's telling of a double standard.

 

I guess it's different when the camera specifically says "this is upresed 4k" instead of selling it as "this is native 4k" when it isn't. 

7 hours ago, Video Hummus said:

The 360 concept is definitely the future of action cams. They just need more resolution.

This isn't 360 cam though

8 hours ago, Mark Romero 2 said:

Do people use manual focus when the screen is flipped forward? 

i vlog on the gh5 in manual focus all the time and it's super easy to do with screen flipped forward 

2 hours ago, newfoundmass said:

No one cares. 

The OP does so you're wrong.

1 minute ago, Video Hummus said:

That’s fair. I’m not advocating one way or the other. If you do that and it works, great.

For people who don’t have or want to muck around with adapters this is an option.

Yeah yeah full agreement here, just wanted to show a different point of view

On 8/23/2019 at 3:34 PM, Video Hummus said:

Is it worth the premium over the sigma 18-35?

IMO not, but for a different reason that you might think - it's not EF. The amount of times I rented/borrowed my EF glass to friends, 2nd shooters and even rental places made the lens not only free but it also earned me some cash. 

The amount of times I was asked to borrow/rent m43 glass? zero 

There are plugins for VLC that enable histogram, dunno about scopes

5 minutes ago, DaveAltizer said:

Then get the 10-25 f1.7!

I need that 16-17mm ff equivalent :D 

4 minutes ago, DaveAltizer said:

I have the 8-18 f2.8-4 and it is great! Wish it was constant but 2.8 on the wide end is good for me

I was thinking about it since its a pretty small and fun lens but then having f2 in the whole range is hard to leave :D 

Now if they made a 7-14 2.8 with filter mount, I'm in! Otherwise I'll stay with my tokina 11-20 f/2.8 and use MF 

15 minutes ago, kye said:

The "like everyone makes the same script" option was a real example from a short film event of some kind where the organisers wrote a script, IIRC 10 groups each made a 9 minute version of that script, and they showed them back to back in the cinema as a 90-minute film.  It was great because the script was really quite vague in places, so could be interpreted in many ways.

One interpretation was a Japanese horror version in a train where one of the characters was the reflection in the mirror of one of the other characters who kind of gradually went insane.  Other films included radically different genres and styles, but they were all word-for-word the same script.  It was quite something.  

Unfortunately, me, my sister and her friend were the only ones in the theatre for the session.  It meant we could talk if we wanted to, but I don't know how the finances of it worked out. 

Yeah but a script requires a lot more work to write.

I'd love to see a prompt, or a theme. 

Like "there's only one thing" or "make it sideways" or something like that. Something that can be interpreted in many ways.

2 hours ago, Castorp said:

I mean, why don’t you apply for a job at Canon? Since they’re so incompetent I mean.

auch dude

2 hours ago, Castorp said:

These are very big companies consisting of large amounts of people that make a lot of effort when planning these products. 

You're giving them way too much credit man

1 hour ago, Avenger 2.0 said:

The razer sharp EF-M 32mm f1.4 beginning of this year.

oh wow that changes everything