kye

In order to use Large Format lenses? When will it end?!?!?!

Not sure if this answers your question, but it has a punch-in feature that can be assigned to one of the buttons.

Great looking images, especially this one, which at first I thought might have been selectively blurred in post because it had that painterly / impressionistic rendering of the out-of-focus areas: Also, a question - you mention you don't like focus peaking, are you using the AF or are you focusing manually without peaking? I'm curious as the peaking on my GH5 leaves a bit to be desired and I've contemplated just turning it off and doing it by eye..

Great looking images. Nice work, and really cool to have that resource. What kind of projects are you shooting with it?

I'm not sure how much you know about vintage glass, so forgive me if I'm telling you things you already know... One thing I find useful is this page: https://en.wikipedia.org/wiki/Flange_focal_distance which lists flange distances, and everything with a greater flange distance than the mount you're using (EF in your case) should be easy to convert. For me, the interesting ones might be: M42, Pentax K, M39 (if you're interested in much earlier vintage glass), Contax C/Y, Nikon F (lots of great Nikon glass around).. Also worth a look: http://www.reduser.net/forum/showthread.php?92044-Contax-Zeiss-Survival-Guide http://www.reduser.net/forum/showthread.php?152436-Russian-Soviet-USSR-Lens-Survival-Guide http://www.reduser.net/forum/showthread.php?139153-Mamiya-Medium-Format-Lens-Survival-Guide https://www.pebbleplace.com/databases/contax_database.html https://www.pentaxforums.com/lensreviews/Pentax-Takumar-M42-Screwmount-Lenses-i3.html Lots of great info out there if you're willing to put in some time on google..

Another one on "poor man's process" from Mark Bone: He goes into more detail than the previous one, so if you're filming driving scenes then this is pretty good. This whole thing should work fine if you're going to throw the background out of focus even a little bit, because you can blur the background projection and as long as you're blurring the pixel size on the projection then it will look fine.

Are you going to go fully manual lenses? That would be a pretty sweet setup with some nice vintage glass, and there's a ton of M42 or PK lenses that are great and relatively affordable

I'm an amateur, so I make $0 before tax, and my P&L shows huge net losses every year... Having said that, I've watched a bunch of YT videos from people who are actually professional film-makers (weddings, music videos, corporates, etc) and I've found there are a few common threads: You get paid almost nothing at the start You will get paid for work one or two 'levels' below what you're actually delivering How much you get paid is limited by your ability to sell, and your confidence in yourself The sky is the limit, just like in professional stills photography where you have weekend warriors who don't cover equipment or fuel costs and you also have famous photogs who are rolling in it If you work hard and do the right things to grow fast, then you can make a comfortable living (ie, more than an average office job) in only a few years It's worth watching a bunch of YT videos on it and there's surprising amounts of info out there. People won't tell you how much, but they do discuss how much jobs earn and likely costs, or some talk about how their income breaks down in percentage terms, etc. Good luck! and get ready to work your ass off.

I see two mindsets when it comes to overall consumerism, people who concentrate on what they have and people who concentrate on what is for sale. The people who concentrate on what they have follow this logic: Use what you have to do what you want to do On some kind of regular basis evaluate how well you did (at the end of each project, maybe annually, etc) Identify what are the most significant shortcomings are in your work, then work out how to address them If any of those shortcomings are from equipment, then have a look at what is available and if something will help you then buy it The people who follow what is available do this: See a new camera is available Read many reviews, trying to sift through the vast discussion about their positive features to find the little 'gotchas' that indicate the limitations of the equipment Watch endless sample footage, fantasising that they are somehow a different style of film-maker living in a different part of the world Try and compare multiple products that are all designed for different applications against their poorly understood requirements Buy something, maybe multiple things Spend ages working out how to make them work Discover all the hidden limitations that weren't in any review because the reviewers were all trying to be first to beat the YT algorithm Maybe film something Then, 2 weeks later another camera is released and back to the beginning with you! Out of all of my many flaws, one thing I can claim is that I started with a $97 point and shoot camera on my first overseas trip, and every upgrade since then has been based on me using the equipment I had in the real world, looking at the results, and then upgrading only when the weaknesses I wanted to address required equipment, as opposed to education or practice. I love equipment and technology, but I'm far more interested in getting the most out of what I have rather than buying new stuff because it looks shinier than what I already have.

The secret is in the title of the video.... the three words you should be paying attention to are "$80", "projector", and "trick"

Yeah.

YouTube has a comments section?

And here's the poor persons version: There's a heap you can do even with a very low budget.

None of those things are unique to the P4K - any camera body would require those things under similar circumstances. In terms of how small a percentage the camera takes up in a rig, leave the P4K alone and go look at smartphone rigs they use to shoot the "Shot on smartphone" ads! This is a very nice lens.. well made, sharp wide-open, and wide as all hell even on my GH5. In terms of lenses for the BMMCC, i'm thinking the above, a 12.5mm c-mount I have, and the Panny 14mm f2.5 are all great choices. I don't really see the 2.88 crop factor as being that much of a limitation. The battery life, need for an external screen, terrible buttons and ergonomics are a different story though! Of course, then there's the image which might make someone forget about all the rest of those things....

Justin Odisho - https://www.youtube.com/user/Justthisgood His channel is a bit of a mixture of stuff, but if you go back through his back catalog then you'll see videos where he re-creates various effects from music videos using PP / AE. I think he might have named those ones "music video breakdown" or something so searching might be useful.

The camera hasn't left the box yet and remains un-modded, unfortunately, but the project is still on my list. The idea is definitely a good one. Do you know anything about how they're constructed? When I was researching the action camera mod I discovered that most of them are based on a CCTV lens standard called M12, which is a screw-type mount and there are cheap lenses all over ebay for it. If you can get the cameras apart then you can just break the glue and unscrew them, replacing them with other lenses, and finding infinity focus before locking them in place. Amusingly the lenses are often sold with the spec of how many MP of resolution they have, and 2MP is the common one, for that cinematic vintage 1080 feel I'm less optimistic that the smartphone lenses will be as accessible a standard..

Great stuff! This style of music isn't as high up my preference list as it used to be years ago, but the video seemed to strike a good balance of heaviness, humour, satire, and with a slight overtone of mayhem in the faster bit at the end. Overall, I'd say that with the limitations you had it was a pretty good result. In terms of missed opportunities (and armchair quarterbacking) I think that slightly more mayhem might have suited, especially in the heavier parts, and maybe some shakier camera movement and strobe style effects might have been all you needed. Both of which can be done in post if you know how to push your NLE a bit harder than most do. Of course, that stuff takes time. I used to watch a YT channel from a guy that edits music videos and he was always breaking down music video effects and re-creating them, and the take-away I got from him was that music videos are kind of the experimental bleeding-edge of mainstream film-making. You can almost do whatever you want and it's not too extreme for an average person to watch, whereas if you made a TV show or movie at even 25% of that intensity people would say it was "weird" and not be into it. I look forward to the next one!!

Great stuff! Anything that looks that close from a side-by-side image comparison should be indistinguishable in any other situation..

Or a lot cheaper! hahaha.. Then again, think about what anamorphics used to cost. It certainly does look well suited to the GH5 though, that's true

Apple started with their computational photography strategy with the iPhone 5 (IIRC) by keeping the same resolution sensor but upping the image processor with each model, and being smarter with the data available as opposed to just scaling up the raw amount of data. This includes things like when you hit the shutter it takes multiple exposures, processes and combines them to improve colours and lowers noise, eliminates blinking, etc, then saves the resulting image. This is a change of thinking rather than a chip selection decision, and camera manufacturers are showing very little capacity to think differently. To illustrate this, this is a comparison of the philosophies from the early film days and now: Early film days: shoot what you want to see in the final output (one frame captured = one frame in output) apply image adjustments edit deliver strategy for gaining better output image quality is to improve the quality of the original image capture (DR, resolution, noise) Current "towards 8K" strategies: shoot what you want to see in the final output (one frame captured = one frame in output) apply image adjustments edit deliver strategy for gaining better output image quality is to improve the quality of the original image capture (DR, resolution, noise) There are basically no innovations that the major players have implemented - every innovation falls under the "acquire a better image" strategy. I wouldn't hold your breath for getting more horsepower than is needed to do the absolute minimum from the data coming off the sensor.

That Vazen looks really cool. If you're into anamorphic then it might be a situation of "the only lens you'd ever need" having the width of a FF equiv 31mm spherical lens, putting it squarely between the 24mm, 28mm, and 35mm lenses. Many classic films were shot on a single prime, and that one isn't too big or heavy (720g), unlike the 40mm (1.8kg).

No experience, but the guys over at reduser seem to like them.... https://www.reduser.net/forum/showthread.php?159096-Kinoptik-anyone and this was apparently shot on Kinoptik and Alexa Mini:

If only the film-making ability of the average customer would catch up to the Super-16 cameras from the 70s!

+1 for proxies, which cut like butter on almost any hardware. Yeah, Resolve really could do with looking at their proxy setup. I have to use a manual online/offline setup that is cumbersome and complicated because their integrated proxy engine doesn't include sound in the proxy files, so if you have many tracks or if you have a slower hdd with the source footage then sometimes the playback jumps as it waits to go load the sound from all the clips. Also, which is what annoys me, if you disconnect from the source files then you get no audio at all. I used to hear that people would have issues with their proxies getting all messed up and there being no way to fix them apart from deleting them and rendering them again, but I don't hear that much any more.

Wait until my colour checker arrives and I start attempting to turn the GH5 into a BMMCC..... 😈😈😈