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Hi guysI recently posted my Night time lapse tutorial and got some great responses.I've just released another photography tutorial based on Hyper Lapse. It got picked up by a few photography blogs which really helped bring in the views.Last week I went out into Manchester, UK to shoot some long exposure hyper lapse videos and I was pleasantly surprised with the results. Whilst I'm definitely no expert I thought I'd share some tips and techniques in this short tutorial to encourage others to shoot hyper lapse.Let me know what you think

Hi guys, I'm putting for sale an FF58 Dog Schidt Optiks lens, EF mount. The specifics are as follow: - Fixed oval aperture, around f2.8 - Normal amber tint - Stupid low contrast - Light grey finish It's in very very nice condition, really like when i got it around 15 months ago. I'm selling it because i actually do not have a camera to put it on anymore, i was using it on a 5DmkII but i sold it as i didn't want to shoot a DSLR anymore, and went the analog Leica M6 route instead. I'm asking 100€ euros + shipping (around 12€) for Europe. I'm not reluctant to ship it outside europe too. It's a very nice lens, very peculiar, and though you can't choose everything like on the DSO site, the settings i chose are, IMO, very nice, and you can get it for less expensive than a new one (mine is like "new" really, i mean like right out of their workshop), and very fast as i ship the day after receiving the paypal transfer, so a few days after, you can have it home, shooting the hell out of it Here are some pics of it, and some screengrabs, bear in mind that those screen grabs are taken from ungraded 5DmkII video set on a VisionTech picture profile (which is a low contrast low sat profile). So don't pixel peep sharpness or CA, this lens is not about that, and what i shot was really not about that, but all about feeling, and atmosphere. Ask anything you want, if i can, i will answer. Thanks, I hope it can make one of you guys happy.

Good news, anamorphic shop has included the FM collar 24 in the box when you get the FM, now you have the freedom to try different anamorphic lenses with your FM.

It appears Cooke's imperfections help create their magic: https://www.hurlbutvisuals.com/blog/2014/03/why-do-we-want-flat-glass/ .

Panasonic FZ1000 or LX100.

Since mention of the price drop with used F35's, I've been meaning to compare similar shots from 2 different seasons of a show known to switch from the F35 to the Alexa (w/o a heavy grade), finally got around to it... Alexa on the left, F35 on the right. Season one and four are compared (or 4 next to 1). The color grading was less consistent with season one and these are final, so I'd say take it with a grain of salt. You can download a full size jpeg here to see at 100% actual (cropped).

For some time i wanted to get in to VFX industry but been fallowing for few months how vfx industry is crumbling down where 350 employees at Dreamworks Animation were recently recently laid-off and the creature effects powerhouse, Rhythm & Hues just filed for bankruptcy and let’s not forget that Digital Domain’s brand new feature animation studio in Florida was shut down this past September – before they could even release a film. VFX artist have given them self new name digital gypsy since they have to chase the jobs all over the world. What will Weta digital do after the the hobbits will same happen to them and incentive that governments gives to studios will soon run out for VFX industry in Canada Vancouver the those studios will just pack bags and move on for better incentive but then what happens to workers? they have to pack and move but then the issue of visa to move to another country can take 3 to 6 months, and lets not talk about artists not being paid on time or for over time While big studios make big bucks on those films like iron man hobbits artist who actually make those films possible suffer and are abused peter jackson him self has changes law of new Zealand for workers not to be able to form unions. i guess artists have to bend down and take it and not complain for the fear of being black listen like. Sorry for bag grammar

Hi JazzBox, Great to hear you enjoyed Crete, Vamos.... that's very close to where they shot the film "Zorba the Greek"!. But I see you came around, ...yeah Elafonisi is fantastic! I am not a native Cretan though, just taking time off to get some projects done ;-) Thanks for your "experience-talking", in the end I ended up buying a 10€ china ND filter, variable. If it doesn't work out then it's just 10€, after your post I am even less willing to buy an expensive one. Cheers!!

​It will depend what time of shooting you do. If ML RAW for doing a lot of colour correction appeals to you than the 5d2 with AA filter and ML like Andrew suggested. If extreme low light and fiddle free camera opperating is whats important to you than the 6d would likely be a better choice.

I see there are the most votes for a full frame friendly set starting with 24mm at the widest. So, I assume (wich is pretty logical) that of course the very big full frame crowd (A7s, 5d3, D810 maybe speedbooster users) did their fair share of voting. Thing is, tis set will cost slightly above 10k$ when released. I don't see any A7s user shelling out that amount of cash, when there is the samyang/rokinon cinema lenses option around. The uniqueness of the SLR Magic set is the PL mount. The cheapest new 6 Lens set that has PL mount starts at 20k + tax. So I see the real customers in those that are used to prices like 20k+ that are now very happy that they don't need to spend as much. Of course, not only those will buy, but I would say they should be served first. My preference would be (18), 21, 25, 35, 50, 85. Later I would add a 135mm

Thanks, ​I shot almost everything on an old crappy Vivitar 28mm f2. It's not a great lens, but it worked.

Thanks everyone. I layered grain over everything up until the fireworks. Everything after that is a7s grain. The sound is layered on clip by clip. I use sounds from freesound.org as well as I record my own. The sound usually takes longer than the edit and grade. I am getting pretty fast at those, but sound takes time. I am not sure if I can recommend a tutorial. I would say go and watch Matty Brown's videos and listen to what he does. He is brilliant!

I would mainly like a 35mm. All round lens that I could do a whole film on if needed.

The metal plate is a Manfrotto base plate. The smaller one found on stills tripods. I like using those a lot. I have it there because I have a small Manfrotto ball head mounted on the top handle of the F5 when I use the Shogun with the F5 it just clips on. It was the Noga style arm that was holding the Shogun flat like that. Also I saw a Manfrotto arm today and it was AU$340!!! Crazy price. I bought mine from eBay for about $20 noname brand. Works perfectly. The colour difference between the A7s and F5 I posted are due to me having slightly different colour temps set between the two cameras. My mistake. A slight grade tweak of either would correct it. Also anyone with an A7s notice on my tripod handle the little black thing with buttons? Its a Sony shutter release with cable and it has movie record button. I really recommend it. Doesn't cost much and means with velcro (yes velcro!) you have a repositionable record button from tripod to top handle to front of camera wherever you want or the shot ergonomics dictate. I will have to update more pics tomorrow.

I'm going to make the crazy suggestion that perhaps he doesn't need 4K So instead a few to consider are: Panasonic G6/GX7, Sony A5100/A6000, or Nikon D5200/D5300/D7100.

Cool thanks for the article JCS.

​Not without partial disassembly (removing focus ring) - the Kowa would sit in this adapter in the same way as the Ultra-star...front half being out of the clamp, rear part being in the clamp. The only difference is that the kowa's focus ring needs to be first removed to get the front diameter down to 70mm.

Yep it's really a terrible industry to be in right now, and I'm in it. Luckily I've yet to be laid off but I have countless friends who've had multiple jobs in the time I've been at one place. Problem is movie studios treat VFX houses like dog shit. They ask for bucket loads of work for not much money. And for some reason the VFX houses just keep kneeling down to them when they should be getting together and setting fair prices. BTW Rhythm & Hues filed almost two years ago - almost immediately after finishing the box office hit Life Of Pi. It's fucking ridiculous.

​Sorry dude, but that makes no sense and quite honestly shows how little you know about the very basics of FCP X. Because IF you in fact "threw in a song" as the first thing, then it would be in the primary. Therefore the subsequent clips you are editing to the music would be connected clips. THAT in turn would mean that there would not be any "gap filling" or even anything "magnetic" going on with your clips. That would only apply to the music. Unless of course you put all the connected clips into a secondary storyline. In which case... don't and all's good! In fact the way you describe you're doing it is exactly the way you want to be doing it, if in fact the music is your primary (there's that word again... get it??) focus. Huh? Then DELETE it?? Or simply pull the clip UNDER the primary if you still want the audio?? Ironically, as far as that's concerned, it's the exact same as with Premiere or whatever. Actually, no. It would actually be a BIGGER pain to do in Premiere, since you obviously have to make room for the clip you're moving first! Therefore it would take far more clicking and dragging to do the same thing than it does with X! Not knowing how doesn't mean you can't. Therefore your niggles make no sense in the context of how things are actually done. I'd say you're so enamoured with your way of thinking, that you can't think of the most obvious? My tip: actually learn the basics before you sit down in front of it? Something any reasonable person would do with any software? The whole "I've been doing it one way forever, so anything that does it any differently can't possibly be good or better"-approach isn't going to get you anywhere. With any software, let alone FCP X. To actually be the judge of good/bad, better/worse you actually have to know what you're doing and understand the most basic concepts first, no? Again: because you don't know what you're doing, sorry. Not because it actually does take longer... because it doesn't. It's faster, as I described. Oh the irony... EXACTLY! And that is exactly the point where FCP X shines above all else, believe it or not. Therefore X is made just for you. Simple: if that of all things isn't in fact exponentially faster for you, you're doing it wrong. Anyone that's experienced in working with X will easily be able to prove that to you. If you don't want to learn it and understand the concept/idea behind it first, you're best off simply not using it. Especially if you're so convinced that track-based editing is da ultimate shizz, I don't even get why you're bothering with X to begin with. Stick with what you've got and be happy and save yourself all the frustration and misconceptions! Seems logical.

I ran some tests when 4K prores came out (non scientific)..... Judging by eye, raw has at least 1 stop on the ProRes. Helps with the highlights.

Agree on the 720p unfortunately when I was shooting I didnt have a comparison in mind so I didnt ensure both were 1080p or even 4K. But if its not immediately obvious that one is 720 without me mentioning it then its a testament to how nice the 720p in on the A7s. ​The cage is from Motion9 called the A7s Cube cage. I can honestly say this cage is AMAZING!! Sounds silly to say about a cage but this cage is so well thought out and so well machined and finished. I have a Movcam top plate on the F5 and it was very poorly machined with sharp edges. Machining aside the Motion9 cage is precision and a very snug fit around the A7s and the thumb rest is excellent. They also have rails and their own battery option. The Shogun was positioned with a Noga style arm. Easy to reposition. The box to the left of the cage is actually part of the cage. It is an ingenious way to clamp the HDMI and other cables exiting the camera. And its a handle!!

Given that ​Coupled with the rise of online streaming the differences in that area might not even mean that much. It's kinda a bit like MP3s in the audio world. It's good enough for most and the convenience won out.

​I could say the iPhone 3G is better than them all. It being my personal opinion would not make the claim any less preposterous. I agree they are all great instruments. But I think certain things should be clarified for those that may not know better. I was once learning and have found myself on EOSHD looking for information. This list is just a disheveled mess. A monkey could pick up an FS700 and get a better image than with a 7D. I'm not sure which of you (besides the author) would dispute that. I understand it's a personal opinion thing, but it's published on a public site. So I'm just airing my opinion of his opinion. Feel free to take mine with a grain of salt as well. ;)

ASPECT RATIO/CROP GUIDES PLEASE! That's gotta be a super easy feature to implement.

A friend of mine, independent https://www.youtube.com/watch?v=OYr6V5qNvRM https://www.youtube.com/watch?v=8zzTHn7ZkMM