Mark Romero 2

Considering you're stuck at home and using the wife and daughter as crew and actor, it goes to show what creative people can do. Well done . 

Yeah, sorry about that. I think I don't make a habit of regularly posting tonnes of videos within a single post?
But that thread was specifically asking about learning lighting during lockdown, and videos really are the best way! As lighting is obviously such a visual media. Thus I thought I'd just scroll through the channels I'm already subbed to, and share just a couple of videos from each channel as a starting point for people to launch themselves from. Little did I realize at the time just how many lighting/filmmaking/cinematography channels I am subbed to! Truly a tonne of them, and before I knew it I had quite a handful there in the post. And that's only just scratching the surface of what is out there! Am sure there are many more great channels out there I'm unaware of, plus I stopped writing that post before I even got to the end of the list of all the channels I'm subbed to. 
 

I agree, it is going to be such a tough environment in the short to medium term, the best idea is to not buy any new gear unless you really really have to. Additionally, the used market is going to be flooded with great priced gear because people will be choosing to or be forced to exit the industry. 

Only buy new gear when you really must, or in some rare exceptions when the new gear is offering something really unique or very very good value. (for example, the two exceptions in 2020 that I might consider is the BMD ATEM Mini Pro or Tentacle Track E, as I reckon there is nothing at their prices which can touch them even when buying secondhand)
  

You wouldn't push for a Production Camera 4K now though would you? You'd be only go for some variant of the new Pocket or URSA Mini 4.6K cameras.

Why can't a C200 replace the usage of shoots where the C100mkII is being used??

Is it because C100 shoots can't justify the cost of using an "expensive" camera like the C200?

Perhaps if an "affordable" C300mk3 arrived which was priced not just below a C500mk2, but well under a FX9, even under cutting a FS7mk2 by a little. Say a C300mk3 for US$8K?

Then you discontinue the C300mk2 and C100mk2, and you slash the price of the C200 to US$4.5K, which is cheaper than the launch price of the C100mk2!

Canon could even consider bringing out instead a cheaper "C200C" version of the C200 (which already has a C200B variant), that could completely replace all existing C200 models. Would be a normal C200 but without the raw recording option, but sell it even cheaper, say US$3.5K? Such a camera would sell like hotcakes!

But I don't think Canon would dare to be so aggressive with their pricing, not even with a camera such as this, the "C200C"  would be an 8 bit only cinema camera released in 2020! Surely the only one of its kind.
  


Sony won't bother, they'll focus instead on their high volume a7R series as their competitive alternative to digital medium format. 

If they do decide to give medium format a spin, they'll test the waters first by releasing a Sony RX1 variant with a medium format sensor in it. 

@canonlyme GX85 produces a great image if graded or with right in camera look. I don´t like the HD as much as from G7 or G6, with a bit too much aliasing to my taste. In super low light noise reduction makes everything mushy. Other than that great camera and my to go little film friend. Now, if it´s ok for you to share your video, would be very cool to see your colors fly in motion.:) cheers

“WHY I’m SWITCHING to the SONY A7SIV”, “SONY A7SIV. T’S A BEAST”, “SHOULD You SWITCH to the Sony A7SIV? I AM SWITCHING!”, “WHY the A7SIV is THE BEST CAMERA of 2020”.
2 Weeks later...
”I’M DITCHING Sony for the CANON EOS R5!”, “GOODBYE A7SIV!”, “I’M FINALLY making the SWITCH from SONY to CANON. EOS R5 REVIEW!”,  “THE BEST CAMERA of 2020. CANON EOS R5!”
1 Month later...
”WHY I’m SWITCHING back to the EOS R”, “WHY I’m SWITCHING back to my OLD CAMERA and YOU SHOULD TOO! It’s NOT About the GEAR!”, “WHY THE SONY A7SIV is NOT THE CAMERA for ME. SWITCHING BACK!”, “MY BIGGEST MISTAKE in SWITCHING from SONY to CANON and back to SONY. DON’T DO THIS!”.
Tony Northrop...
”Micro Four Thirds is DEAD. SONY A7SIV REVIEW”, “CANON EOS R5 REVIEW. M43 is DEAD!”, “M43 BIGGEST MISTAKE. DON’T BUY THIS”.

New Godox model that sounds promising. Supposed to be similar to the Apturure mdoels but cheaper by several hundred dollars.
 

New Godox model that sounds promising. Supposed to be similar to the Apturure mdoels but cheaper by several hundred dollars.
 

Well since that quarantine got us all...
I struggle a lot with inactivity, so i had to make a short film... Almost alone, by my self.
The point of this is just to entertain and motivate others to make, create even on this times. 
PD: I had a Panasonic S1 that was let to me for testing. I used this for the film.

Quick overview of recommendations (very partial list! Just three for each) for anybody looking for low budget audio gear / videographer / cameraman grade etc gear:

Wireless:
Sony UWP-D21 (or previous generation UWP-D11), Deity Connect Wireless, or secondhand Lectro 200 or 400 series. 

Hypercardioid mics for indoors:
Oktava MK-012, Audix SCX1-HC, Audio Technica AT4053B

Shotguns for outdoors:
Rode NTG3, Deity S Mic 2, Rode NTG5
 
This is the kind of gear which would be excellent for a videographer / cameraman, so audio isn't at all their primary focus, but now and then they sometimes "have to" do audio, and this will still give them acceptable results if used well. 

Or for student filmmakers, or broke/hobbyist indie filmmakers, or an aspiring semi pro just starting out, this kind of gear kit would also be an excellent starting point for them as well. 

Also suitable for professional sound mixers too, excellent back up gear on the cheap, or to supplement what they've already got. 

Since someone posted the OK GO videos, I thought here are a couple of others that could be used for inspiration as to being one-room films.
https://youtu.be/MW0y7i2AyNU
https://youtu.be/-6z_77BxOmM

IBIS on the sony is pretty decent for shooting stills. It is pretty mediocre for shooting video, IMHO, and the IBIS on my a6500 doesn't compare well at all to the IBIS on my Panasonic S1.
I think a compounding factor might be the really bad rolling shutter on sony bodies also makes it appear worse.
I wonder if shooting at a faster shutter speed than the 1/180th rule would make the IBIS appear better (at the expense of more staccato movement, of course). Something to try out for the next sunny day.

1. Show us a picture of your current most used camera and lens
At the bottom is a rather unglamorous photo in my work shop of my Nikon Z6 with a Vizelex ND throttle adapter, and Zacuto viewfinder, and one of the set of Canon FD lenses I love to shoot the out and about hand held videos I often shoot and edit. In studio I use mostly Canon cameras. I've owned a BUNCH of them: C100, C100Mk ii, C300 Mk ii, C200, EOS R...right now most of my videos in-studio are made on the XC-15, mainly because of the good audio of that camera. Shooting handheld video with fast primes, especially  on the long end---like the 2.8 200 mill on the Nikon in my photo, is difficult and a challenge. But what I lose in some shots I gain in others...and I love the freedom and spontaneity of hand held shooting.
2. Tell us a few facts about yourself! 
Began as a professional clarinetist. After years of university teaching I got involved in manufacturing and designed an entire line of professional clarinets for one of the three great French clarinet makers: G.Leblanc Corp. Began my own clarinet company in 2005 and we now produce clarinets of my design and send them to both professionals and advanced players all over the world--everywhere except Antarctica.
In 2000 I wrote the first complete pedagogy in the history of the clarinet---my interest in education has never flagged.  That combined with owning a business to promote lead to me producing now over 200 educational videos on every aspect of the clarinet. Learning video over the years got me hooked on it as a "Ding an sich." Since then I've done a lot of videos---working to wed music and images---with varying and marginal degrees of success. Quixotic as it may be I persist---I just love making stuff.  Here's one I last fall with the Pani S1. 
 
3. What's your favourite music, favourite sport / team, other hobbies
Brahms, Beethoven,Schubert, Mozart---especially German Lieder. Hate the mostly trash I hear blasted at people everywhere.
4. What your hopes are for the future of EOSHD, what would you like me to cover - and the camera you are looking forward to most?
You do a fantastic job, and you reviews have few peers. I just hope to continue to benefit, with my obvious limitations of time, from all you and the "video wokafile" pros share here. The whole video community owes you a continuing debt of thanks.
5. Tell me what you miss about your country and home town when you are not there
My family, hands down. I'm glad most of my traveling days are over--for several reasons, not the least of which is it is getting to be an increasingly dangerous world. Though I do hope to visit my daughter and her family if we can get past this scourge. They live in....Barcelona, of all places.
6. The year you first started reading EOSHD
Probably about 2013. Not sure when I actually gave myself an identity.

1. It's not my most used combo, but the one I like best. X-T3 + Zhongyi Lens Turbo II (which is basically glued to my camera, rarely do I take it off) + Pentax M 50/1.8 (love this little fella, it's the best fifty I've ever had).
During the past few years I've had the chance to jump between many systems (Canon DSLRs, Sony E, Panasonic M4/3, Samsung NX, you name it..), every one of them had some quirks. Then I got into Fuji (by chance) and something clicked. Maybe it's the camera, but maybe it's my attitude that changed. I no longer feel the urge to have the latest features, the best gear possible. Having said that, I still like to indulge myself sometimes. ( :
 

 
2. Well, I guess you could learn something about me reading between the lines.
I'm a medical student, hopefully to be a doctor in 1.5 years time.
I'm also more of a research-everything-extensively-before-you-do-anything kind of guy. Making a plan and then sticking to it. Everything should be in its place.
To be honest, I think I have some mild case of Asperger's, lol.
 
3. Favorite music - you name it. I listen to classical music, movie soundtracks, rock, electronica, chiptune. Almost everything, apart from rap, jazz and blues.
I don't support any team, don't follow any sport, though I really like backpacking and cycling.
Besides that, I also cut stencils and spray paint them. Street-art was one of the things that got me into all the camera-related stuff, actually.
 
4. Some more challenges! Anything to make us creative.
Sharing our thoughts about the craft / process would be great, too. BTS stuff, etc.
Cameras are great, but they don't have the power to change anything you're trying to capture, the things you have in front of you.
Maybe some DIY talks?
 
5. It's a difficult question for me, since I'm not really outside of Poland that often, maybe twice a year. And when I am, I rather try get to know and enjoy different cultures as much as I can.
About my home town: all the people I used to hang out with and my family.
 
6. I guess it was 2018.
 
 

1. Show us a picture of your current most used camera and lens
EVA1 and Sigma 18-35mm. 
 
2. Tell us a few facts about yourself!
As a child, I was haunted by a ghost called Linford Pickle. 😂
I come from a family of artists and musicians.
I was forced to go to church then realised it was all bollocks. 
My first ever video was called "Demon Boy". It was shite. 
I'm scared of baked beans and peas.
I've starred in 2 televised music videos, once as the lead. 
I've got eczema and I hate it. 
I have 2 daughters. 
 
3. What's your favourite music, favourite sport / team, other hobbies
Manchester United - although I've got very disinterested in sport for the past few years. 
Music - As a teen was obsessed with Radiohead and Muse. Now I'll listen form anything from jazz to classical to synth-pop. 
Other hobbies - nothing. Filming and being a Dad takes up EVERYTHING. 
 
4. What your hopes are for the future of EOSHD, what would you like me to cover - and the camera you are looking forward to most?
Do more episodic video stuff. 
Do less on cameras and more on lighting! More interesting. 
Cover vintage lenses and weird shit that they do. Modified lenses. 
RED Komodo looks neat. Canon R5 and 6 I hope will live up to hype. 
 
5. Tell me what you miss about your country and home town when you are not there
Seeing people. Working with artists. My family. Having a pint and a laugh. Making shit. 
 
6. The year you first started reading EOSHD
I knew barely anything. Got a Canon 60d DSLR and started reading all this "complex" stuff people said like "10 bit 422". Read it over and over until I understood. Liked the way EOSHD focused on experimental stuff, cheap cameras and weird as fuck lenses. Think it was GH2 time. 
 

That reminds me of a certain "news" network that was constantly warning Americans that Obama was coming to take their guns away, and that the Ebola threat was all Obama's fault. And was happy to support a president who flat out lied about Obama not being a US citizen. 
Fear mongering on a billion-dollar budget, indeed.
 
Unfortunately, it appears that transmission from person to person is quite likely when someone who has Coronavirus is still asymptomatic. Because in the US we didn't rush to provide testing kits and have a comprehensive testing strategy, the spread of the disease is far worse than it had to be.
 
I've seen on CNN's website interviews with people who have recovered from Coronavirus. They all have said the same thing: Don't get coronavirus. It sucks.
 
Which is why we need medicare for all in the USA; so people will STOP being focused excessively on oneself and one's own family, to the detriment of others.
 
The mortality rates of SARS and MERS were higher than Covid-19. But Coronavirus is much more contagious (at least in today's world). At the END of the SARS epidemic, only 8,000 people WORLDWIDE had tested positive for SARS. As of today, over 44,000 people have tested positive for Covid-19... in the USA alone. Worldwide over 400,000 people have coronavirus. So that is an infection rate of over 50 times what the infection rate was for SARS. (Most likely, the number of people who are infected is significantly higher and is severely under-reported, as countries like Iran, China, and North Korea are suspected of covering up the number of actual cases and deaths from Covid-19).
And we should avoid another 12,469 deaths in the US by pretty much any means necessary. Swine Flu was horrible.
Yeah, what we learned is that even after experiencing SARS, MERS, and Swine Flu, politicians will ignore the health of the people if they think that strong action to curb a pandemic would affect their ability to get re-elected. 
 
Absolutely NO ONE is obsessively trying to kill every single germ in their vicinity. What they are trying to do is get the governments (federal and local) to implement better testing and dedicate more resources to fighting this and other diseases. 
For the people who DIED of SARS, MERS, Swine Flu, and will die from Covid-19, the world will certainly come to an end for them.

I have the prompt smart pro app (for android) and it does have that voice-follow feature. Been using it a lot lately. Sometimes it is glitchy. Also, they went from a one-time purchase of $20 to a yearly subscription model of $30 per year. 
It's a pretty good app overall and if you have a long script, then it might not be so bad. I think it is best for people who are adept at reading scripts because if the talent messes up, it is probably harder to back up then other teleptrompt apps. So if the talent is new to reading a script and will mess up a lot, then an app that is easier to "rewind" will be better.
Although I think they might have a bluetooth-based scroller than can be used on a separate phone so that you can reqind / skip forward if you mess up.
Prompt Smart pro is pretty good in that if they talent goes off script for a while and then goes back on script, the teleprompter will keep up with them. Meaning, it will pause in place when the talent goes off script, and start scrolling again when the talent gets back on script. Again, this is probably most usable for someone who is adept at reading scripts but also likes to make comments "on the fly" while recording.

I've seen a few setups that I thought (?) ran of iPads and used speech recognition to scroll automatically?  it's not that difficult a technical challenge these days.
I didn't look at them in full detail as I'm not in the market for one, but I do remember thinking that it was a solved challenge and wasn't that difficult to get a good setup.

I think so.
This post (https://www.liftgammagain.com/forum/index.php?threads/lab-processes-before-the-digital-intermediate.12923/#post-129058) from Marc Wielage describes a workflow that doesn't seem to include a conversion:
Assuming I am interpreting correctly, Marc may well use a conversion to get the files into a log format and then goes manual from there.  HLG is a log format but has a pretty extreme curve so that might not be the best curve to start with.
Having said that though, here's some tests.
GH5 HLG image with no processing:

GH5 HLG image with CST (rec2020/rec2100 HLG to rec709):

GH5 HLG image with contrast, saturation, and a slight hue rotation of all colours to get skin tones in range:

Are they the same?  No.  Is the manual one nicer?  Not really  But you can't deny that it's pretty similar to the CST.  They're just different.
As a more general comment, this test took be about 10 minutes and that included finding some music to put on and finding the project with these test shots in them.  Before you make a statement or ask a question, ask yourself if it's about something you can actually test yourself, and if you can, try it out and see what actually happens.  Grading is so easy like this because you don't need to actually go shoot anything, you just fire up Resolve / FCPX / PP and click a few buttons and see what happens  

Hmmm... Am not convinced this is true. And am not sure what non-destructive means. Everything that watch and read from professional colorists including Juan Melara's video point in the opposite direction. (HLG -> rec709 -> HLG = rec709)
Let's check Melara's video. He concentrates mainly on dynamic range (Gamma). Whole point of the video can be summarized like this:
URSA Mini is capable of 15 stops of dynamic range. But it looks you don't get all those 15 stops because BMD gamma is able to hold only 12 stops effectively cutting some of the dynamic range of the camera.
Later he proposes two methods / solutions:
    1. Play with curves. (But you still play with 12 stops of dynamic range at input)
    2. Choose Gamma=Linear. It looks Linear container(value for Gamma) can hold more stops of dynamic range. And you get full range of 15 stops, which yields better result at the end. 
    At 1.25: "My theory is that BMD 4.6K film curve as a container is actually not able to hold the entire 15 stops of URSA Mini..."
About color space:
    At 2:20: "Normally I'd recommend to output to the largest color space available and you can use P3 60... To keep things simple I'll choose REC709..."  
In my understanding he says: Get the widest color space you can. But here for simplicity I choose REC709 (narrower) because my main point in this video is about Gamma (dynamic range). 
Now if we assume what you say is true, then BMD Gamma should hold all values of URSA Mini dynamic range (15 stops). Why then go to Linear ? It would have been sufficient to choose it in color space transform and it would reveal the whole 15 stops. But that's not what Melara is saying. He's saying exactly the opposite. He is saying that BMD Gamma as container (Gamma value) is limiting dynamic range of URSA Mini sensor. And REC709 gamma has even less stops of dynamic range than BMD gamma ! 
Now let's go to HLG color space and gamma. As you said there are several approaches / methods to color correct and grade. Let's compare the one that plays with curves, saturation etc. with Color Space Transform.
When you place a GH5 or Sony A7 III HLG or LOG clip on timeline, Davinci assumes by default that your clip is REC709 color space and gamma. If you don't tell Resolve the color space and gamma your clips were shot it doesn't know and assumes REC709 (same as is your timeline by default). But REC709 color space and gamma are much more limited than REC2020 color space and REC2010 Gamma that HLG clips are. By doing so you effectively destroy the quality of your video. No matter what you do later, curves saturation, LUTs, your starting point is much lower. Yes at the end it's always REC709 but everything so far points that you loose quality when correct conversion was not done because you don't use the full range of colors and dynamic range your camera is capable of.
That's why they say that color space transform do this transformation non destructively. At least that's my understanding.   But may be wrong and am curious to hear others opinion. 
If your scene has limited dynamic range you may not see a difference between the two methods. But in extreme scenes with wide dynamic range it does make a difference. Same for colors. Some  color spaces approximate nicely to REC709, others (Sony S.Gammut) don't.  There is no surprise people are complaining about banding, weird colors and so on. Most of those problems could be resolved with Color Space Transform even for 8bit codecs footage. 
Second problem with using curves, saturation etc. is that this method is not consistent from clip to clip, between different lighting, etc. And involves a lot more work to get good results. At least that's my experience. Have to tune white, black point for each clip individually, then saturation etc. Change one color, another one goes off. Can't apply all settings from one clip to all especially when shooting outdoor in available light and different lighting conditions. It's a lot of work. Just read how much work was put to create Leeming LUTs, how much shots had to analyzed, etc. 
With Color Space Transform it takes me 3 to 5 min to have a good starting point for all my clips on the time line. Apply CST on one clip, take a still grab then apply the still (and CST settings) to all clips. And almost all of them have white black points more or less correct, skin tones are OK etc. It's much faster method. It was a game changer for me  
With BMPCC 4K clips can get away with the first method and not spend tons of time because Davinci knows quite a lot about their own video clips, when you place them on the timeline. It's much better than GH5 or Sony HLG. It is for those 8bit compressed codecs where CST method shines the most. Again at least that's my experience. Color matching BMPCC 4K BRAW and Sony A7 III 8bit HLG is for me now easier than ever.   
 

The video was on YT, but appears to have gone now.  I remember it well.
What I was talking about was that you can grade using technical transforms, or just with the tools.  Juan is obviously a fan of the technical conversions, but there are other more old-school pro colourists who have straight-out told me they just grade LOG footage by using contrast/pivot/saturation and then the LGG wheels.  What Juan was talking about in the Linny rebuild video was about being as accurate as possible in emulating something, but the guys who grade freehand are just looking for a nice image using the motto "if it looks good then it is good".  Colour grading can be as simple or complex as you like, and I've heard that most footage shot well just needs a WB, contrast adjustment, and primaries, and then everything (including skin-tones) will just drop right in place.