Olivier

Ok so I don't listen to a lot of rumors but when it comes to Noshikita, they're quite reliable. Did you guys see the next cinema line camera that Sony should announce this month likely?
 

This guy didn't really do it in post, but I didn't want to create another thread.
First time ever I've seen someone trying to actually recreate what Pro Mist filters are about.
And he did it with a spray paint, lol.
Side note:
I knew Sony give yellowish skin tones, but I didn't expect a Simpson-ish jaundice.
 

I've not used the older Falcon Eyes, all I know are the new versions are waterproof, have built-in effects (which are pretty good!), have a new better ballast which can mount to a light stand, better colors and build quality.  I love it, it's an essential part of my kit now. 
The Taiko is probably the best light I have ever used. I've never used the Aputure Nova, and I was honestly put off by the weight with the hard case.  It's like 50+ pounds, whereas the Taiko is around 20 pounds with the case.
I can compare to the Arri Skypanel which is more similar to the Nova, and the Arri is an absolute chore to transport.  Overall I think the Taiko is better than the Skypanel for 1/3rd price.  The Taiko is just about lightweight enough, very good for a 2:1 light. The Taiko has better colour accuracy and has better punch. The RGB brightness is hugely impressive!! The app is also absolutely fantastic. It comes with different diffuser strengths or you can make the light hard with no diffuser. 

Lighting is pretty much the most important thing for what we do. It’s what makes your images sing. 
Here’s a bunch of lights I highly recommend:
1. Falcon Eyes F7
Ridiculously awesome light for the price. Everyone should have at least one.  Super bright for a small light. Very useful. Essential. Possibly my favourite right now. 
 
2. Falcon Eyes 24TDX II 
Flex lights are expensive. Not this. Build quality is great. Super useful. Waterproof.  Put anywhere! 
 
3. Luxli Taiko 
In my opinion, better than the Arri Skypanel which is 3-4 times the price. Best colour accuracy I’ve ever seen and very easy to use. Only downside is the power unit. Feels a bit cheap and not long enough. 

4. Godox S30
I think this makes the $3k Dedolight equivalent almost obsolete. For 10% of the price? Super optics for the projection attachment. Downsides are the power goes down to 10w from 30w when using batteries.

5. Colorspike
The light pattern customisation is immense and looks way more organic than preset effects from other lights. An incredible tool. Only downsides is the carry case is a bit “meh” and diffuser is fiddly. 
 
6. Astera Titan Tubes 
These are way more expensive than other mentioned lights. They share some ideas with the Colorspike’s but on a much higher level. These things are insane and worth every penny. I don’t own them but what they can do.... wow!! Downsides... 8 tube case is very very heavy. They are expensive. 
 
What are your current favourite lights? 

Didn't wanna make a new thread for just memes.. 
??

Experimental filmmaker legend Maya Deren had an excellent take on this,  in 1959! Her text "Amateur versus Professional" is worth quoting in its entirety:
The major obstacle for amateur film-makers is their own sense of inferiority vis-a-vis professional productions. The very classification “amateur” has an apologetic ring. But that very word – from the Latin “amateur” – “lover” means one who does something for the love of the thing rather than for economic reasons or necessity. And this is the meaning from which the amateur film-maker should take his clue. Instead of envying the script and dialogue writers, the trained actors, the elaborate staffs and sets, the enormous production budgets of the professional film, the amateur should make use of the one great advantage which all professionals envy him, namely, freedom – both artistic and physical.
Artistic freedom means that the amateur film-maker is never forced to sacrifice visual drama and beauty to a stream of words, words, words, words, to the relentless activity and explanations of a plot, or to the display of a star or a sponsor’s product; nor is the amateur production expected to return profit on a huge investment by holding the attention of a massive and motley audience for 90 minutes.Like the amateur still-photographer, the amateur film-maker can devote himself to capturing the poetry and beauty of places and events and, since he is using a motion picture camera, he can explore the vast world of the beauty of movement. (One of the films winning Honorable Mention in the 1958 Creative Film Awards was ROUND AND SQUARE, a poetic, rhythmic treatment of the dancing lights of cars as they streamed down highways, under bridges, etc.) Instead of trying to invent a plot that moves, use the movement of wind, or water, children, people, elevators, balls, etc. as a poem might celebrate these. And use your freedom to experiment with visual ideas; your mistakes will not get you fired.
Physical freedom includes time freedom – a freedom from budget imposed deadlines. But above all, the amateur film-maker, with his small, light-weight equipment, has an inconspicuousness (for candid shooting) and a physical mobility which is well the envy of most professionals, burdened as they are by their many-ton monsters, cables and crews. Don’t forget that no tripod has yet been built which is as miraculously versatile in movement as the complex system of supports, joints, muscles, and nerves which is the human body, which, with a bit of practice, makes possible the enormous variety of camera angles and visual action. You have all this, and a brain too, in one neat, compact, mobile package.
Cameras do not make films; film-makers make films. Improve your films not by adding more equipment and personnel but by using what you have to its fullest capacity. The most important part of your equipment is yourself: your mobile body, your imaginative mind, and your freedom to use both. Make sure you do use them.
https://hambrecine.com/2013/12/10/amateur-versus-professional/ (also includes a PDF of this text.)
- She shot all her films on a 16mm Bolex H16 btw.

I think it would be usefull to separate the several areas of filmaking and not generalize. I did a few weddings during one summer and I hated it. People are unconfortable around cameras and just want to enjoy the wedding. As for photography, people have an instant gratification and can later post the pictures on social media, so the attittude is different towards photographers.
For commercials you have to deal with the client. Most of the times you have to compromise or do what your client wants, even when you know it's shit. There's less chance of creating "your" own commercial, as you're getting paid for a specific purpose. My stuff is low budget, so the hability to do something great is more difficult. What I've gotten from it is that I don't mind to get a little less money for more time. It's less stressfull and more enjoyable. But it's not always possible.
For corporate, my experience is that I had less people watching over my shoulder but people rely a lot on interviews. There's a formula that the client wants and that's it.  Normal people don't do so well on camera under pressure. So It's always a huge amount of time for people to be able to speak full sentences for the camera. I think I would behave the same way. And then you deal with terrible lighting and ugly ass interiors.
I watch this forum for a while now and it's mostly about gear talk. That's great but it's only a small part of the conversation. Some people work on the industry and some don't. There's a lot of cynicism towards the industry and some is valid. My recommendation is for people to lose the gear addiction and think of a theme that they would like to explore. In photography or video. Some ideas don't need a lot of money. Just time and dedication.

Interesting perspective.
The unreasonable client has always existed of course.

I believe the "video is easy" mindset comes from the easy and cheap access to fairly high end looking equipment that was never an option before. The entry into the industry is just so easy and cheap. People just don't know any better. Coupled with the new age mindset of "just do it" rather than maybe a traditional work your way up slowly from the bottom approach.

I reluctantly call myself a DP or Gaffer, but it depends who I am talking to lol. Its hard to gauge my own experience as I work in the really low end indie level where I am often the most experienced person on set. That said I've seen far less experienced people than me calling themselves a DP. But I am always honest about my experience level.
Its a lot easier to buy your way into the industry than it was before as equipment is way easier to use. Before digital being able to get decent wedding photos was so much more difficult. Not because of the price but you actually had to be pretty dang good at getting nice compositions and exposing properly. Now you can take 40 photos every minute and as long as you get 100 decent ones out of 5000 you are not doing so bad.

I do sometimes worry about the future of my job security. At the same time I've realized, like this thread points out, even with all the technology we have now, its still very very hard to make something that is watchable.
 

VIDEO IS EASY
that is what they will tell you!
Real life facts that I am thinking about a lot the last couple of weeks
1) friend wants to be a youtuber, she wants to learn everything about editing, equipment, lights, sound, and everything in between. Whatever I learned in 20+ experience and a few degrees, she wants in one afternoon.
2) we have a small team, doing internet videos, try to fit 15-20 small ones per day of shooting, the team is a DP with 30+ years of experience at the highest level, me with 20+ years, and our editor 15+ years at the highest level (for our country the highest level, don't get me wrong) and we have a young guy helping building his experience now.
At one time, the 25 years old gal doing social media for the client, comes to see. She stayed for an hour,  she walked all the time with high heels, played with her phone, and the first thing she said, "I want that to be like this", after half an hour trying to explain her that what she wanted wasn't applicable in this prouction, she left..we lost almost an hour because of her and we missed our brake because we didn't have time for the rest.
3) on another such video, same team, another girl supervising social media for the client, never present on set, send a text "maybe it is better for me to edit the videos, what program do you use so I can watch some tutorials today and do the videos in the weekend?", that was the actual text message...
4) the last, a lot, years, I have met a lot 22-25 year old kids introducing themselves as "DoP" or "director". I have never heard, "I am trying to do camera", or "I would like to be part of a production".
5) In the past, I had a director, that withouht being in the busniness, through social networking, connections, luck, and very low salary has become a director!
Knowns nothing about anything, but through youtube videos and director's masterclasses believes he is one of the best in the business! Very proud that became a director without experience and no studies, really having no clue at all. I can't even explain how terrible is to become something you do not deserve, and there is no direction ever, mostly the shooting was happening because of some experienced actors, the DP and me. Crazy stuff..There are others like him coming.
6) wedding video and photography...what a joke..I have met policemen, DJs, wood cutters, military personel, and so many different people, that occasionally, or more professionally are doing weddings. So many of them, are bringing their wives/girlfriends (I have seen that in video mostly), and boyfriends/husbands ( I have seen that in photography mostly) to do second photo camera, or video, or second/third video.
So many bad experiences on weddings, I should write a comedy book.
7) we were discussing with an old DoP about instagram recently ( I do not have, I am not familiar at all with it), and he was telling me that 8/10 photos on instagram have a crazy horizon at the back for no particular reason at all..Of course there is a reason, 101 in photography isn't needed anymore. 
So, video is easy, just press the RED button.

I would wait to see for the real-world performance of the EOS R5, especially the 8K RAW and 4K/120fps.
Plus most of what we liked about the 1D X III  could end up on a much cheaper EOS R6.
$6500 is a lot for a DSLR these days, even if it is indeed the best one ever made.
Mirrorless cameras are a much nicer shooting experience for video.

Quelqu'un a une idée de se qui se cache sous le capuchon face avant gauche du EOS R5 ?
Pour moi il s'agit du connecteur qui permet de mettre le boitier xlr canon MA 400.
Cordialement 
jmarc

Just popping in to say that I quite like Deep Impact.
Coincidentally, this thread couldn't have been more destroyed if it had been hit by a giant comet either.

@Django

Check out this list 
https://pdnonline.com/gear/cameras/the-best-cameras-for-color-reproduction-ranked/

TBH I am really confused as the Fuji's are up at the top directly followed by Sony. How can they both be super color accurate while both being very different?

Don't worry about the R5 bashers. Haters gonna hate. Watch em come around in couple months..
CS is a tricky subject, there are a few dedicated threads about it here. Most of them don't end well lol..
Canon is known for their warm skin tones and Reds that pop. Clog is also pretty easy to grade. RAW 14-bit is glorious.
Pleasing CS doesn't necessarily mean accurate colours though. Strangely you will often find Sony on top of color accuracy rankings.
In the real world however, Sony are often last in the CS preferences. doesn't help their WB craps out as soon as mixed lighting comes in.
That said I love Venice CS and shoot almost exclusively with the Venice LUT on my FS7. 
I haven't worked with recent BM cams but generally speaking the ProRes & RAW footage from them grades beautifully.
My problem with BM is they can be unreliable cameras. Some Ursa Mini 4.6K had magenta cast issues for example. Very difficult to get rid of.

Deep Impact is a 90s flick, it was shot on 35mm film with an ARRIFLEX. Strange example to bring up in a CS discussion about digital cinema.
I wanna say CS isn't an issue in Hollywood. They shoot the flattest log or RAW footage and then send it to a pro colourist who will dial it in. 
Recent Canon Cine Log tries to copy ARRI's Log C. Sony FX/FS have Venice CS. S1H/EVA1 I'd assume aim towards VariCam CS.
Those are the industry standard. On most consumer cameras, picture profiles & log follow other standards.
One of the reasons why cine cams rule imo is they can load custom LUTs and you can also paint in camera.
Very practical when you're going after a specific look and don't have time/budget to grade log/RAW footage.

Canon rumors just released a CR2 rumor that Canon EOS R competing A7S line will come this May.
Let’s be clear, if Canon releases an EOS R with same video specs as the 1DX (maybe at least 10 bit 4K60, not raw) with IBIS and enabled DPAF, and Sony releases an A7S3 with no better specs, I am selling all my Sony gear and move back to Canon. 
A few clowns here liked to say I am a Sony fan, I couldn’t care less about Sony or any camera manufacturer. I am buying the gear I need wherever it comes from. If H&M releases the camera I need tomorrow I would buy it. 
First company to offer 4K60p 10 bit with IBIS and Canon DPAF or Sony-like AF in a small mirrorless body gets my money. If both Sony and Canon do it this year the same, I go to Canon because at same spec level I would rather have better menus/ergo. But it’s hard to believe Canon won’t fuck up again (they did not with the 1DX but only because it’s $6.5K and very big body with easy heat management). 
Oh and Tamron better releases 17-28 on the Canon bodies, cause who wants to pay 3 times the price for a twice the weight 15-35mm? Not me. 

Credit card is ready anyway. 

Thanks.
Yes, a Panasonic one will happen reasonably soon.
 

I've really enjoyed Paul Thomas Anderson's recent jump into music videos, discovered HAIM thanks to him (easily among my top 10 bands/artists now), but also check out "Anima" if you have Netflix!