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We had a lot of fun making this one, three people in crew in total and a £500 budget for all the extras (props location etc) the kit is our own Animation took a long time, and VHS style was tough to build! Happy to answer questions on production if anyone is interested!

We need more Zach's in here! I mostly gravitate toward crime fiction. Started a production company with my childhood buddy called The Sabi Company nearly a decade ago. We've made 7 or 8 features in that time. As well as a handful of shorts. Our latest, Down and Dangerous, was our first genre picture and the first to not lose money. We've also created Artis Entertainment to distribute our titles directly and through partnerships with other distributors. Most recently, we signed with Paramount to distribute Down and Dangerous internationally. To a filmmaker like me, that is an unforgettable milestone that I'm very proud of, even if it is a bit like winning the lottery. The next movies include more action, a sci-fi survival story, a neo-noir, and hopefully countless others. I have no other creative or professional ambitions in life other than to make movies until i'm dead.

I went to film school, decades ago, but having been too young then, having had too many distractions and too little ambition, I dropped out. I kept film as a hobby, making wedding videos, test videos, nothing worth mentioning. Edited some music videos for local bands. Last week I gave my whole equipment to a friend, who is a better camera operator anyway. I am currently selling camera, lenses and other stuff on Ebay. The things you own end up owning you. But I don't give up trying. I cut my expectations and my many projects down to manageable size. Let my friend worry about gear. Instead, I concentrate on scheduling the shoots. He is busy, so I have to prepare every project in such a way that 'principal photography' can be done on one weekend. What kind of films? Short films, mostly one scene, one unheard-of event with two or three key moments. Emotions, action, humor and some sex. Hopefully enjoyable, entertaining, touching, intense and extraordinary. Before there was the much-ignored subforum CREATIVITY AND IDEAS, someone founded CreativeCrit, another forum, where I posted three of my plans to let others comment. I still think this is a good idea, but the forum died for lack of interest. No one listens (good title) to your ideas. We must accept that.

Clearly, the guy had real low shutter angle, see the passing car at 0:12, there hardly any blur. These days, I'm regularly shooting at high shutter speeds with my NX1 myself and not bothering to stick to the hallowed 180 degrees. Two reasons: You can get some amazing 8MP still frame grabs. I went to Costa Rica recently and some of most exciting stills of wild life I got were frames from video because you have so many to choose from with just the right timing and framing.I don't like using ND filters anymore. I have a pretty good variable ND filter (Tiffen 77mm), but it reduces the quality (especially adding flare) and is not the most convenient to use. Putting it on/off was not really an option in the Costa Rica rain forests (BTW, both my NX1 and 16-50 S lens took the rain well).Given the low angle footage, I'm experimenting with getting the blur. So far, I've found the pixel motion blur in AE to be quite good (you need to bump up the frame count though), but it is dog slow, so you'll need to add that to your workflow time. The ReelSmart motion blur is really fast (especially when using graphics card), but has artifacts (at least in my testing). If anyone else has suggestions, please share.

quick update before the full test: Overheating seems to be less in FF mode. I've reached the 30 minute mark without a heat warning in FF mode, whereas in S35 mode heat warning was reached at about 15 minutes and the camera shut down at 20 minutes. IBIS was on for FF test, but camera was resting on the table.

Just to wade into the 4 min recording limit debate. I bought my RX10II off UK ebay from a Hong Kong seller and saved a lot. I checked the 4 minute recording issue and it's a NON-ISSUE for my model of camera. Not sure where it was sourced from, but I let it run at 4K for 14 or so minutes to make sure. Even if there was a limit, I don't think it would be an issue. You very rarely need to record consistently for longer than a minute or two unless you're filming a wedding or concert, and this is not the camera for that!

Haha. I'll tell you what, I think the nx500 might just be one of the most underrated cameras of the year. I am not a seasoned pro, I am sure some of you guys will forget more than I'll ever know, but when I figure out the best settings, for this camera, this little bastard is gonna be a beast.

Out of curiosity, why do you want the edmika adapters so badly, when you could just sell your t2i (while you can still get a little money for it) and get a mirrorless and you can use your FD lenses with a simple 10 buck adapter? With the money you'd shell out for the edmika adapters, and the sale of the t2i, you could get a Sony a5100, or 6000, or even an eos-m, or better yet an eos-m3 body that has focus peaking and manual audio control?

Thanks Emanuel. Youtube 4k version: http://youtu.be/0o6olPXUcNU blog post: http://www.alexpasquini.com/blog/2015/8/5/sony-a7rii-from-canon-to-sony-day-4

Andreeeeew what's up with the review ??

Autumn Leaves Creative Style -3 Contrast, 0 Saturation, -3 Sharpness Canon EF 24-105mm f/4 Rokinon 14mm T3.1 Cine Metabones EF-E Adapter mkIV Edited in FCP X

A free non-linear editor that will be good enough to do a lot of work - and a great organizational tool like Resolve futher makes me think this is going to be a game-changer again. Why put all this stuff out for free? I have no clue - guess it gets more people to like Blackmagic.

I enjoy being a part of this community, and would love to hear more about the films you are creating and/or are wanting to create. What do you think are your biggest obstacles to creating the content you want to be creating, if you aren't making it already? I'll start - I started with documentary work for a non-profit, shooting on a canon t2i. After about 2 years of weddings I've wanted to move to bigger documentary projects and commercial work. My biggest struggle having not gone to film school has been connecting with other filmmakers to collaborate with, though i'm making more friends with each project I work on.

I haven't seen Drinking Buddies yet, but I heard it was good. Learning about characters and their story through the mundanities of the everyday was very intriguing. I could've done without the full frontal and the live action sex scene with him and his girlfriend, but I don't blame him for doing it. That realism, no matter how exploitative, is what made him the darling of SXSW. I, also really think he has a great model for independent filmmakers... Make as many movies as you can, as quick as you can, then reap the benefits from your catalogue of films.

Being the lone wolf I am, I'm probably not going to have anything going in the near future, but if I can get my shit together, it's probably going to be some short film that's either really disgusting and sick or something light, simple and revealing. Or all of that at the same time. Or none of it and totally different. I'm pretty open to the (probably) dark future and thus not too inhibited by great ambition or the will to please. What artists do I like: Noé, Buñuel, Lang, Bergman, Keaton and stuff. Probably won't be too polished work, not enough patience for that. Will see. Most likely it will just be a lonely death for me without all the shebang beforehand.

Swanberg is one of those directors, you almost want to hate. When I heard about the mumblecore movement, I saw Big Puffy Chair first and really enjoyed the minimalism, then I heard about this Swanberg guy and what I heard made me roll my eyes, but when I watched Hannah Takes the Stairs, I had to tip my hat. Somehow he was able to recreate not just the scenarios of ambivalent heart break but also that pit in the stomach emotional loss behind it.

Comedy and sci-fi/action. Maybe some day I'll have enough money to make something

I'm also more of a writer than anything. Going for really human stuff, kind of like Cassavetes or Joe Swanberg, kind of episodic, but making sure to keep it all significant. I don't know if I'd be as comfortable as those guys with the actors improvising as much with my scripts, but don't have much experience there yet. With amateur actors and not being able to pay them much or anything, improvising a little might be necessary. I'm pretty much adding scripts to a drawer for now, tweaking them slightly and writing treatments for them just to be prepared. Actors are a big obstacle, and production budget. Though a slightly low-fi feel could be pretty great if I can get great performances. Like a bit of a documentary feel, emphasizing the acting even more. I have a really simple short that only needs two actors. I figure I should definitely try to do that one as soon as possible. This forum helped me feel more confident as a cinematographer, which is good considering I'll probably be my entire crew most of the time. Also, I've been interning for a friend's company, and his boss just sold a script to Clint Eastwood, so that'll hopefully lead to a lot of contacts, which is exciting. Sorry, trying not to use this as a rant about yourself thread, but it maybe kind of is for that , which I'm not complaining about

Primarily, I consider myself a writer, where I have had a few successes in the horror genre, with a couple contests. I made one short film that I entered in a few festivals... Haven't heard anything yet. With a little luck. and a lot of perseverance, I hope to be making indie horror and thriller features in the future. In the meantime, I have a few ultra short films in preproduction. If you're looking for some material, I have a few scripts I'm doing a final pass on. Sorry... I just figured I'd put it out there.

Ahh man, and got my first 5d today. Now I must trash it

Fair enough, I thought you were looking for feedback on how the Match Color worked. Once you're done with all your tests, please do post your findings/conclusions on the pros/cons of different settings.

Well if it is a mistake I just got the moron fired as I have spread that over about 5 Sony pages as a warning (hoping it alerts someone in the know).

It looks good overall, but I still see issues with color (they don't look natural) and contrast (not much shadow detail).

I think that jerkyness ir probably because people dont know how to set the shutter speed/export, havent noticed any problem with motion yet. The camera is quite amazing, IQ quality is quite stellar, I will be making a video today on an exhibition and then ill share with you guys. I really think this is the most underated camera out there at the moment, if you're a video guy.

I use 0-255 and MBL 0 (defaults) with DR gamma, sharpness -10 (lowest), and contrast -5 (anything lower or higher can cause artifacts). Keeping at 0-255 and MBL 0 makes sure you use the entire range of the (tiny) 8 bit range. As I see, the only reason to use 16-235 is when you plan to hand off the footage directly without post processing. Check out my thread NX1 Dynamic Range Settings that has more on this.

After trying it for about a week I'm pretty sure I just don't have the hardware to run this. Playback is extremely choppy (which is ok, I can deal with that). Problem is that when I go to render the finished product is also choppy and full of artifacts. I almost certain I'm setting up my projects properly but for whatever reason, the renders are not working. My other editing program has choppy playback (with 4k video) but renders beautifully. I'll keep trying to fix it. Maybe even delete it and re upload as maybe there was a problem with the initial download of resolve. Beautiful program. I hope I can fix it.

I saw some sample pics from the RX10 ii (on http://***URL removed***/galleries/reviewsamples/albums/sony-rx10-ii-real-world-samples#page=1 ), and I noticed, that it doesn't seem to resolve a lot of detail for a 20MP camera. Also, the low light on it doesn't appear to be very good. I would say that ISO 1600 is probably the maximum that one should push it, and ISO 800 would actually be quite good. I also find that the lens, like that on the LX100, seems better at portraits that at wide shots. In portrait it seems ti resolve a lot more detail. I think camera manufacturers who are complacent about markets like India are actually ill-informed. I see a lot of Nikon and Canon DSLRs and their long zooms cost less in India than in a lot of other countries (including the US). I am sure Canon and Nikon are milking the market for millions of US$. It's actually Sony and Panasonic's loss, by bringing in older models, and having a poor after sales setup.

So far, with the Beta 2, it seems to run smoothly (fingers crossed) on my end, it was slow in some parts, but I did played with editing (not fully) and grading, and a chance to render - even on Intel HD Graphics, 1GB physical memory with OpenCL 1.2, so who knows...

It has alot of quirks. But it also a 4k APS-C sensor for very little money compared to the competition in a small and compact body.

Or an nx500 (from eBay )

The NX500, or the a5100. Btw, I will get to more of your nx500 requests by the end of the week.

I was satisfied with my Carryspeed loupe for my 60D. I got one for my GH4 but have yet to install/use it... doesn't seem as necessary with the better screen, peaking, etc.

Rx10ii is more expensive in india comparatively USA. Despite having its 5 minutes limit.

From same original poster/shooter:

Regarding curvature: I've found quite a bit of variability in curvature of macro images taken with the iscorama, ranging from none at all, to "extreme"... almost difficult to look at, depending upon which supplemental lens I use, whether it's mounted normally or reversed, and which primary lens the Isco is used with. I've recently scavenged two objectives from badly damaged (totally non-repairable) lenses, a Nikon 80-200mm f/2.8 ED AF, and a Sigma 70-200mm f/2.8 ED AF. These objectives, both 77mm, have ED glass, thus I was eager to see how they worked as supplemental lenses on the Iscorama. Using a Nikkor-H 85mm f/1.8 as the primary, the Sigma was a "dog"... very curved field (sharp in the center), which became much flatter and sharp all over when a Nikon 4T close-up lens was first put on the Iscorama, then the Sigma. This optic was used normally... not reversed. When mounted reversed it's pretty bad... unusable. The Nikon 80-200mm objective was excellent used reversed on the Isco, with a slight bit of curvature across the image. Wnen used flipped the other way with the front toward the subject as when manufactured, the image is absolutely flat, edge to edge... probably the best in my inventory. I've rigged up a special test jig... a rail with a simple camera mount on one end and a sliding articulated "test subject carrier" that allows me to evaluate each add-on lens for field curvature, sharpness, chromatic aberration, etc, when used on the Iscorama, so any curvature (or lack of) that I observe, is "real". Here's an image taken with the same lens combination as the bumblee bee posted near the beginning of this thread... Nikkor-H 85mm, Iscorama compression module, Soligor 90-230mm objective reverse mounted on the Isco, and a Panagor 85-205mm objective reverse mounted on the Soligor. This combination has strong curvature, but the effect is somewhat "masked" by the weird bokeh produced by the iscorama.

also BMC micro with its global shutter will be super interesting as a go pro replacement

Here's a quick shot I did in 1080p with the updated "pro" setting. It's not really the best example, but I know some people were curious how it looked.

There is definitely a difference between 8 bit and 10 bit. It just depends how well the camera utilises the feature with all that tech inbetween...(and other boring obvious statements). No need to get angry about it though. Why be emotional about bit rates? What a boring thing to be emotional about. The world is out there, somewhere, isn't it?

I was hoping they'd come out with 2 Cine Zoom lenses like 15-50 T2.0 and 50-105 T2.0

SanDisk are usually higher quality than Transcend and if they advertise up to 90 MB/s write instead of the 65 from the Transcends, I'm pretty sure they will work. Kaylee can probably tell us that they do.

Yep I agree. S35 for these low light shots. Here there is a quantification of the RS: https://***URL not allowed***/sony-a7rii-rolling-shutter/. 29ms. Same as NX1.

As part of my MA program we were asked to create a short clip that tried to capture the experience of getting lost in thought staring at something. Here's my take, filmed with the Sony A7s in SLOG2 and using a DeLUT from James Miller. I'm pretty stoked that I'm finally getting the hang of SLOG2. It's not great to use in low light situations, but I nailed a sunset at the very end of the video, something I'd been trying to do for ages after watching Ed David's Kholi footage a while back.

This plan is going to work out. People are sick to have to roundtrip with XMLs. An NLE is not just an app that allows you to set in and out points and arrange a clip order in a timeline 'playlist'. It needs to be the hub to connect pre- and post production. As of now, Resolve is forced to understand the proprietary way third-party software organizes the assets. This can only be very limited. The key to attract the masses is simplification, integration, the key to attract professionals is separation, see my old thread.

No what's missing is noice reduction and 3d. The rest is in both light and full.

Branding! It's all about getting people familiar and comfortable with the name brand. Look how it's worked out for Nikon and Canon.

Looks like any other "freemium" model to me that's meant to upsell/crosssell. There are tons of examples all over, most obviously in the free or super-cheap "educational" and the "personal" versions when it comes to creative tools. This model would especially work for tools like this as they take time to learn/perfect, which builds an automatic lock-in and loyalty. E.g., up and coming filmmakers (of which there are a ton) will try it, hopefully like it, preach/sell it (free word of mouth and social marketing), switch to the $$$ paid version themselves when they turn pro, buy/promote related products like the BMC cameras, etc.

Because if they don't do it somebody else will

Hello everyone ! This is my new movie. It's entitled « eet Gourmandise ». This is a film about the preparation of cake, a "entremets", specially created for the film. You can see it there : It was shot with : Canon 5D MarkII with Canon 24-70mm f/2.8 L + 70-200mm f/2.8 L + 100mm Macro. It was editing with Avid and color graded with DaVinci Resolve. I wanted to show you and to have your feedbacks. So if you like it, do not hesitate to share the link of the video on social networks, with your community (Facebook, Twitter ...) Thank you. Have a nice day. ...and "Bon Appétit" !! Florent.

I would spend my money on used lenses. Lenses with Nikon F mounts are ideal becuase they can be adapted to many cameras (and actual Nikkor glass is usually a good value, too). One little known advantage of the T3i -- it is one of the few cameras that has a Tragic Lantern build. Tragic Lantern allows control of the h264 GOP (group of pictures) setting, so one can shoot h264 with all I-frames. In this scenario, each frame is essentially its own jpeg picture, with none of the blocky interframe artifacts that often plague h264 encondings. Here's an article that further explains things. As mentioned in this article, the early "TL 1" build for the T3i/600D allows more control of the h264 settings than the later builds. With both Tragic Lantern and Magic Lantern, one can also boost the h264 bit rate to one's liking. I think that the 5D mkIII is the only Canon HDSLR that offers "out-of-the-box" h264 with all I-frames. Don't know whether or not Canon offers any control of h264 bit rate on the 5D mkIII. I only know of two other cameras with TL builds: the 7D; and the EOSM. I have the EOSM, and