kye

You and everyone else....... Whoever gets it right will do well.

Definitely something that it 2-part so that it's curing to form a strong bond. You could also try doing a double layer where you cut out things that will fit in flush (glued with epoxy) and then sand them flat and epoxy on patches over the top of that. Then it's two glue-ups that are protecting it rather than one.

Great stuff. It's really useful to see how other people work. You're absolutely nailing it with these videos. Well done!!

Yeah, as strange as it looks, it sure looks like it can make some awesome footage

Another video on the probe lens with lots of BTS, but this time for tech reviewing. Interesting fact, it's FF and F14-40. Apparently at F14 you still need a ton of light, so that's why it has the ring light built in.

I'd weigh in, but now it's been revealed that I'm actually an actor paid by the UK to play an Australian as part of a great cover-up, it's hard for me to convince people of much at all really... https://www.nzherald.co.nz/world/news/article.cfm?c_id=2&objectid=12043583

If only film-making equipment was accessible to extreme couponing!!

Maybe the Rokinon/Samyang 35mm T1.5? Not quite as fast and not quite same focal length, but not too far off. and perhaps the Meike 12mm T2.2 or Rokinon/Samyang 12mm T2.2 for the wider angle?

Ouch. Is this a common problem? Sounds like they haven't gotten their focal adjustments correct. I've read online that often the hard stops are adjustments that get made after the lens is assembled to calibrate the focal markings, and that sometimes you can open them up and re-adjust this. Not suggesting that you do this, but that maybe it's a QC problem in the factory rather a design flaw. I mean, how could a lens company design and manufacture a lens that can't focus to infinity?!?! Are the Mikaton f0.95 lenses an option for you? I know they're not cine style, so no threads for follow-focus etc..

This kind of thing can be very useful if you have long takes with a high shooting ratio.. one thing is for sports if you're recording in slow-motion and waiting for something cool to happen - you can end up with minutes of footage that are completely useless. For the purposes of editing I tend to wait until the moment has definitely ended and then stop the take and start a new one. Then in editing I don't have to scan a long clip (120p takes forever to watch) as I can just look at the end of the clip and see if something good happened. I haven't hit this issue, but if file sizes are too large (maybe with the P4K / P6K this would be more relevant) then you can split the source clip into multiple pieces and delete the minutes of unused footage. Hard-drive space might be cheap these days, but recording RAW can add up and it might be worthwhile to trim long clips. P6K 6K Blackmagic RAW 3:1 is 323 MB/s, which is ~1TB per hour. 6TB internal HDDs are $225, and archival should be on redundant HDDs, which means that the 323MB/s is about $75p/h, or ~$1/minute. So, if your hourly rate is $75p/h is less than the space you can free up by splitting and deleting un-needed source footage then you can come out ahead.

There's a huge resource that @Tito Ferradans has put together about faking the anamorphic look... http://www.tferradans.com/blog/?page_id=15535 There's a quiz to test if you can tell the difference between fake and real anamorphic images. I'm rubbish at it but could spot some of them but not others. His guide is USD$30 but you can get a taste of it via this link: http://www.tferradans.com/anamorfake/TFerradans-AnamorfakeDemo.pdf I don't lust after the anamorphic look so it's not that enticing to me, but for those interested going fake seems to offer a much simpler approach, so it's worth a look.

Absolutely... I'll take any chance to re-post that video!

and the fact that things like Fusion comes with the free version of Resolve.... really now it's just down to how much work you put in to learn the skillset, the tools are basically free.

I'm not sure that every aspect ratio is compatible with every screen..... Here's a refresher in case you've forgotten some of the more exotic ratios:

I blame the director... looks like they took people who were nervous and behind the camera by choice, and then filled their heads with all the "talk slowly but not too slowly" "stand up straight" "be funny but not too funny" "remember to do these 17 things..........." pieces of helpful advice their heads could hold, then probably finished it up by adding ".......and just relax and enjoy it!" *talent has spontaneous internal freak-outs*

Very nice @Adam Kuźniar !!

Cool.. I can't remember where I read it, but there's some fairly standard approaches to doing profiles of people as mini-documentaries. Interview someone on camera, shoot a bunch of B-roll and then cut it together, finding the story in post. Obviously that's a drastic oversimplification of what is a deep art form, but once you're comfortable with the tech, shooting things like this allow a lot of room for error and if they're historic / human interest pieces that are unpaid then expectations will be low and you have lots of flexibility in post. What are your goals?

I know very little about optical design, but one trend I've noticed with all the old manual lenses I've bought is that a larger aperture means a significantly longer lens. The MFT pancake lenses are tiny but also have smaller apertures, so, all else being equal, going to a larger sensor size would have a big impact on lens physical size, I think.

Looks like you're making lots of progress... what are you shooting with this thing?

Nowhere close to every Helios, but a sampling...

Yes, a colour checker is useful, but if you're very budget constrained then you can make your own "unofficial" one from paint colour samples from a hardware store. It won't be an absolute reference (but neither will the cheap ones available commercially) but it will help to match shots between different cameras.

OK, that makes more sense. Gotta love it when tech people take some kind of information and squeeze the absolute bejeebers out of it to make it semi-useful!

My advice is to shoot a test first, and include each profile from the Z6 then match the images in post and see how you go with each profile and which one works best for you. In theory anything can be matched with anything else, but in practice that's limited by the skill of the colourist, the tools available and how close a match is required. This isn't the most sophisticated approach but it will get you into the ballpark and it only relies on basic tools that most NLEs will have..

I'm not seeing the advantage of the apps.. The apps are all limited to the 640x360 that the camera sends, the native app goes fullscreen and has the same focus peaking modes available that the camera uses. I think the problem is that pulling focus at 0.6k simply doesn't have enough resolution. A 1080p display from the hdmi won't have peaking but at least it would have enough resolution to focus, although a large screen would be better than a small one for that. This whole thing is is messy and makes me want to side-step the whole thing, which is pretty much the definition of when technology fails us.... When I was using the Sigma 18-35 on my 700D with ML I had a similar setup with the punch-in feature, making the lens a 29-56 and something like a 90-180mm in crop mode. If ML was more reliable and the setup had IS then I might still be shooting with it. It was pretty heavy, but the flexibility was great.

Thanks @BTM_Pix... Bummer. Why they'd use the same icon for a different function is a bit strange, but ok. I'm back to wondering how to nail critical focus when filming myself with MF lenses. I'm thinking it's back to either a large TV from the HDMI out or your DIY EVF solution of a 1080p screen for the raspberry Pi, a USB power brick, and a long HDMI cable. Can I just buy a Pi screen and hook it up to the GH5 with a long HDMI cable and power it via a USB power brick? I'm thinking it'll be like a HDMI cable with a large monitor / dongle on the end..