Anaconda_

Mission accomplished then! The car is there because the garden is right up against the road. I thought it'd be weird to start opening the fence, without having some idea of where the fence is. Without wanting to give too much away, the garden's location and proximity to the city centre play a large roll in the documentary. Perhaps that's something that should be explained more in the full trailer. For this teaser, I wanted to focus a little bit on the man, and his ideas. The full trailer will go into what the actual story is. For now though, I've written this little blurb, which hopefully makes things a bit more exciting.

That's right, no steady hardware. I have a V-mount on rods at the back of the camera, so that adds weight, and I can rest the butt of the battery on my chest, 1 hand on the grip and 1 hand on the lens. The only shots with post stabilisation are the tiles at 0:41, the greenhouse at 0:54 and the title shot at the end. They're all a push/pull into something, so it's hard to hold it against your chest and get a long move without having to take a step. Since then, I've taken to wearing a neck strap, to hopefully give me that extra stability for these kinds of shots. I can pull the camera into my chest for most things, but for more movement, it's easier to push the camera away, and have the strap create tension.

Hey guys, Since the middle / end of last summer I've been making a feature length documentary. I have 3 more shoots to do, and then it can be finished. However I wanted to share a small teaser I've made in anticipation of sending it out to festivals etc. I'd love to hear all feedback, comments, criticism etc. Please don't be shy! Shot entirely handheld (apart from one shot) with BMPCC4k, Viltrox speed booster and Sigma 18-35.

Video. I hope you're wrong about mechanical shutters. I love the feel and sound of a shutter. Taking stills on the FP doesn't feel any more special than using my phone.... Sure the results are very different, but actually using the camera is more than half the fun.

@Andrew Reid - In the article, you say: But I wonder how you feel about the rolling shutter on the FP-L. For me, that alone makes me want to look elsewhere. I have the original FP, and really enjoy it, so I understand most of where you're coming from. I also understand the FP-L isn't a replacement for the original FP. But the RS is definitely a step backwards in my opinion.

With the FP, my settings for one are the settings for the other... I'd like full manual for video, and Aperture Priority auto ISO for photo. But cant set it up... Any tips? As for OP's question, Fuji XT3 has separate settings if you use the silent video mode. Video settings on touch screen, photo settings on the dials.

When in the field, I always power my h6 with a USB power bank and never have any issues. I'm sure a wall USB socket will be fine.

Has anyone here shot Braw with the FP? I'm wondering if it's cropped or full sensor. Is there ailiasing? Do you have the same controls in post as with Braw from a BMD camera?

Andrew, are you saying the size of the camera makes up for that rolling shutter? Or if you want to bypass the rolling shutter, you record external and get terrible aliasing while making the camera more than twice the size.

Rolling shutter is the worst I've ever seen. Shame. Does look like it has true 24p though.

He only mentioned PDAF in relation to stills. I didn't catch anything about it being usable in video modes... Hope I'm wrong though. Also, when you say: The 4K crop modes are not the only use of the extra resolution. For photographers there’s a pinch & zoom touch screen crop-mode available for exact framing all the way to 5x zoom from one prime lens. You should note the pinch zoom lowers the resolution. I think he says 5x is just above full HD... And will the pixel binning from 61mp introduce a lot of aliasing in video modes?

The viewfinder gives audio out though. I still wonder about recording external through the HDMI... I don't understand how the VF can display an OSD without that info being passed through the UDBc or HDMI... if it goes through either of those, surely it'll also be on the external recordings...

So basically the new additions are: OLPF high mp count (for stills) better AF (for stills) Everything else is either the same, or will be the same with a firmware update to the original FP coming in summer?

Depends who they are, where you are, how you transfer the material, how much you've charged them already, what their budget is, how much extra you want, how much you'd like to work with them again and 100 other things.

Find out exactly what they want. If they want a timeline where they can adjust cuts, then you also have to give them the source material. I personally would negotiate a fee for that.

Yeah. Did you have to make an srt to begin with? Captioning takes quite a bit of time, so if you're only making it as a second thought, let them do it. If you have to make captions in one language anyway, then yeah, send them one they can edit.

Give them the edited version, in a format that will let them add the captions - ProRes instead of h264 for example. Let them work out the captions. I wouldn't make a project file for them.

Is it just a straight up interview with not cuts or anything? If you have edited the file with b-roll and music etc. I wouldn't give them the raw footage without negotiating a fee. If it's just a single interview clip, then why not just give it to them? Unless otherwise specified I always give my clients a ProRes file of the final edit and a web friendly MP4. If they want to put captions on the Prores and then send it to their granny, I don't mind. They've paid for a product, the video, so give that to them.

Are you shooting real games or staged? Can you wear high vis so at least nobody purposefully shoots at you? You could try one of those bags for snorkeling. Then you don't have to worry about paint getting in the camera. If you're worried about impact damage, you could put some socks or something inside the bag.

To add to this - The cable that comes with the T5 works flawless for me. I've tried other USBc cables, and they gave me issues. So it's not only the media you should look at, but what you're using to connect it to the camera.

I can't speak for the 6k, but I've never had a problem witb the 4k. Blackmagic have a list of recommended media to record to. My first question would be, are the people experiencing issues using the recommended media, or cheaper alternatives?

The quality difference between 4kUHD and 4kDCI will be exactly 0, and performance difference will be close to the same. The only difference is DCI has extra pixels on the side. Sharpness, DR, rolloff, aliasing, moire etc. is all the same. Downscaling 4k DCI (17:9) to 1920x1080 (16:9) will either add black bars at the top and bottom to preserve your aspect ratio, or crop off the sides to force 16:9. The question is, do you need to deliver in 16:9? If not, you could export at 2kDCI (2048x1080) which will preserve your 17:9 aspect ratio, without cropping anything or adding black bars to the file. If you need to deliver in 16:9, I'd suggest also editing in 16:9, so you can keep an eye on what's being cropped. You could still shoot DCI, which would allow you to reframe slightly if you want more or less space on the left or right side of your frame. But if you edit in 17:9 and let your NLE crop the sides during the export, you'll have estimate what's going to be cropped for the 16:9 ratio.

But does the EVF get it's display (OSD and image) from the HDMI port? If it does, then there's no clean HDMI out. If that all comes through USBc, then there's no SSD recording. The image and OSD shown on the EVF has to go from the camera to the EVF display through one of the ports, and I can't imagine it's coming through the two pins... those are for power right?

So either this does pass through USBc, or the FP-L has a better way of recording internal raw, so you don't even need the SSD. (Please Braw internal!) If it's not any of those options, you'd to have to choose between and EVF and 12bit raw. I wonder if you can have all your info on the EVF display, but still get a clean feed through the HDMI to a monitor... How would that work? The only was I see it working is if that information is sent through USB, but then can you still record 12bit raw to SSD?

Just imagine if Atomos release a new Ninja Star for ProRes Raw - or BMD do something similar for Braw. I'd buy one, or both in an instant.