Meahmut

Those look pretty amazing as is. I finished the first tungsten conversion today (mostly). Still have some refinement to do. Here is an idea of it, a sample slice from both cams:

I think I really just miss my Canon 24-70mm f/4...

Hi All,
Been watching this forum since I found out about a certain company called Blackmagic ?
Just in case it helps anyone who is waiting for an PCC4K order from CVP in the UK, I ordered mine on 30th April, I finally got an email about stock the middle of last week, got the camera 1st March.
 
Got a Panasonic Leica 12-60 as my 1st MFT lens so I hope i did not make a mistake but it seems to get positive comments on forums.
 
My camera came with 6.1 software, I just tried the 6.2 update but it sticks on 0% and does not progress, then after 5 mins says failed to update the camera software. Already seen someone on YouTube with the same issue, at least it did not brick the camera..
cheers
Kev

I totally agree - just make stuff.
I am only aware of two ways to really succeed.  Get absolutely great at it or get to know a bunch of people and be great to work with.
Considering you're not physically around other people the second one is more challenging, but can still be done (youtibers collab all the time without meeting each other).  In terms of the first one, getting great, you have to find your inner voice.  The shortcut to doing this is to make lots and lots and lots of films.  I know that's not a shortcut (ha ha) but the real shortcut is that they don't have to be long, they only have to be long enough.
The person who makes a one minute film every week will learn truck-loads more than the person that makes a 52 minute film each year.  I'm assuming you're young (because of college and no car) so assuming that's the case you'll also still be trying to figure out who you are.  I'm over 40 and I figured out who I thought I was, but am now trying to get rid of some of those ideas, so I'm still at it.  
Finding yourself and your voice just takes work, but the upside is that it only takes work.  If you make 100 short films then it's almost impossible not to learn a lot about yourself.  Another shortcut is to try things that make you uncomfortable and you've never tried.  
Film yourself, make a musical, make a historical reenactment, make a documentary, make a mockumentary, make a fake news report, make a stop-go animation, make a film with planning and no editing, make a film with no planning and only editing, make a silent film, make a film with no music, make a film with only music, make a B&W film, make a film in hyper colour, make a film about a colour, make a film about someone you know, make a film about someone you don't know, make a film about you trying to make a film and failing, make a film about you making a film and succeeding, make a tutorial, make an abstract film about a lost sock, make a film about what it's like to be you, make a film about who you would have been if you had been someone else, make films for other people, make a film that you will never show to anyone else and have a premier with only you and then delete it afterwards, make a film for money, make a film about the people you care about and give it to them as a gift...........
Learning is accidentally doing things that are great often enough to work out how to do them on purpose.

I've got the BenQ PV270. It's great for a home color grading setup. Something to note, Blackmagic products (I have the Decklink Mini Monitor 4K) see that it isn't a 4K monitor and reduce resolution to HD, regardless of your settings. 

At first I totally disregarded the E-M1X... now I feel it fills a VERY VERY special niche for video. 
YouTubers who can afford it. 
Did a quick collab with Sara Dietschy comparing it to the GH5. Check it out!
 

I struggled for ages with criteria that sound like they might be similar to yours.  In the end it came down to the Sony A7III, which has good AF and fast but expensive FF lenses, or the GH5 and 10-bit files with the reliability, lack of overheating issues etc, and pro features it offers but limited AF.
I ended up deciding that going to manual focus worked for me and my style of film-making, and because the IBIS is so great you can adapt old lenses and still get great hand-held footage, so I now have the GH5 and a cheap ebay vintage lens collection that is so large that I hide it from my wife.

I can shoot the same scene with a P4k, a OG Pocket and a Micro Cinema if you want. Tell me what you want shot and I'll do it and share the raw files.

A proxy workflow is what you make of it. Essentially, you create an exact copy of your entire project in a format that plays back smoother on your system. At any time, you can toggle between using the "online" media and the "offline" media. If you wish, you can do ALL your post production on the proxies (editing, color, sound), and only toggle back to online media for the final export. Or, you can do some editing, switch to online media, do some color, switch back to proxies, do more editing, switch back to online media, edit more--etc. Or you could use proxies to edit, switch back to online media for color correction and export, and never use the proxies again.
On the other extreme, you can do a proxy workflow where you never switch back to the online media, but then it's called transcoding.
You can make proxies for any format. You can even make your proxies BE in any format. You can make HD ProRes proxies for 8k 10 bit H.265 footage, or 4k H.265 proxies for an HD ProRes project (not sure why you would want to though...).
That's all quite abstract, though. In practice, proxy capabilities depend on which software you are using, especially if you are using the builtin proxy generator. In Resolve, if you use Optimized Media (essentially, proxies) you can switch between optimized and original media at any time, like I described. However, you are limited in the formats that you can make proxies in, and I've often found that Resolve "loses" optimized media all the time. Personally, I make proxies in ffmpeg, and manually switch out which files my timeline uses. That way I have maximum control over the proxy format, and can easily troubleshoot problems.
A decent workflow should allow you to do crops/reframing and variable framerates without issue, but it depends on the software you use.
 
In general, the only pro is smoother playback while editing. However, proxies are also a huge benefit if you have a remote editor and need to send files over slow internet connections. My 500 GB project is only 10 GB in proxy form. I can use Google drive to send the entire project to an editor, and all they have to send me in return is an XML.
Cons are a messier workflow, having files become unlinked if your workflow is not perfect, tons of headaches. But all of those problems can be avoided if you know what you are doing, and rigorously test your workflow before using it on a project.

In relation to the Voigts being soft at f0.95, that's definitely true, but I would still choose to have them be able to do f0.95 rather than only be something like f1.4 but remain sharp.  The advantage of the extra aperture is useful for multiple reasons.
I shoot in completely uncontrolled conditions, and so have to make do with whatever lighting is available, and in low-light there's many times I looked into the viewfinder and saw a dark image with muddy lifeless colours and the focus peaking highlighting the auto-ISO noise in the shadows, but then I start opening the aperture dial and the ISO noise goes away, the image lightens up, the colours clean up, and by the time that I hit the limit at 0.95 I am so happy that the lens can gather that much light that I don't care that the focal plane will be a little soft.
I like to be able to use aperture to control the attention of the viewer by focusing on what is important in the shot and to slightly blur the things that aren't important in the shot.  This is a fundamental of composition I think.  It also helps to create some depth in the image and escape that flat video look that people don't like (otherwise we'd all be using handicams and this forum wouldn't exist). Any lens is capable of blurring the background if the subject is quite close to the camera and the background is much further away, but in my travels I sometimes want to blur the background a bit when the subject is a bit farther away from the camera and closer to the background.  In normal circumstances you might just ask people to move, you might move the camera closer, or you might put on a longer focal length lens, but often I don't have the luxury of being able to do any of these, but I can just move the lens past the 1.7 or 1.4 maximum aperture of other lenses and get the job done with a simple adjustment.
There are also rare occasions where you want a greater than normal background blur for artistic effect.  This goes beyond the blur you would want just to control attention or to add some depth to the scene.  This could be used for highly emotional scenes, scenes depicting a POV with altered perception (half-asleep, drugged, the view of a baby, etc), but normally this is a night shot where you want to have pretty lights in the background.
This shot that I took a few weeks ago is a combination of all of the above - low-light, subject further away, no time to change lenses or move closer, and I wanted the background Christmas lights to look wonderful.  It's basically ungraded, but illustrates the points I think.

Hmm that is hard to describe. I was expecting a better BMPCC I guess. Better LCD, better batter life, maybe continuous AF. It to me, the PK4 is sort of half way between the original and a GH5s output wise. A bit too sharp, not as thick, or old timey looking. I guess I was looking for a cross between a newer original one and a Digital Bolex for a cheap price. They sure did the price right that is for sure.  It is just not creamy looking like the older BMD cameras. More of a modern look to it. And that is for most people probably a good thing.
My biggest beef is that it still is a camera body that you need to rig the hell out of it, just like the original one, to really make it work. It is not a C100 where you can just turn it on and go right out of the box. When you add a cage to a body they Always end up making it harder to get to stuff. It doesn't fit your hand smoothly anymore. It is no longer a part of you, it is a lump of metal with tons of holes in it, stuff hanging everywhere.
But for the money it is a gift from the gods for what it really is capable of. So I am sure I will snag one down the road for a good price. Really nothing to take it;s place. I am not really at this point in a position to buy anything right now. So just looking as they say now, and seeing what you guys that have them come up with. That is the proof.

With apologies to John Brawley,

Magic Lantern proof of concept code is running on the 5D Mark IV. The developers are looking for volunteers to install it on their cameras and help with the research and testing process.
Read the full article

Hmm. Crappy.
Obviously Blackmagic didn't invite me to the hands-on. Pretty clueless of them not to.
I would have quite liked to have taken one on a shoot.
I do at least know what ProRes is

HAHA. Hilarious!

P4K EC beta

http://menexmachina.blogspot.com/2018/07/lightroom-skin-tones.html