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Well that took a bloody long time! But I've just this minute completed my new reel and site. It's not "announced" until Monday.... social media campaigns etc blah blah. But it's live! Check them here: View my new showreel and website! Some info Each and every image - I shot, lit, edited, graded. A little directing. Very involved in creative ideas. Core crew was mostly 4-5 regular people in these productions (Director, DOP, Production Manager, Spark, Make Up Artist). For the geeks - cameras used are Sony F55, FS7, FS700, RED Epic, GH3, BM Pocket. All images are music videos, but going for commercial/corporate work aggressively into the next year. (and still many music videos). The aim is to have 100% new material for Showreel 2016. Max creativity required. Anyway, if you like it or don't like it, whatever. Just thought I'd share.

I've been keeping an eye out for a deal on one of these. Don't know how long it will last but the coupon code PSWBH15 will take $40 off the $99 price tag at B&H Photo. Davinci Resolve users will find it particularly useful. I'm hoping with enough testing and tweaking, I can come up with a custom LUT that will neutralize the GH4's unique color issues. http://www.bhphotovideo.com/c/product/651253-REG/X_Rite_MSCCPP_ColorChecker_Passport.html How to use it in Davinci Resolve to balance colors. This gives a general idea despite the fact that the guy in the video screws things up a bit (like setting his ProRes footage to sRGB instead of Rec 709). And I think he's comparing an unbalanced tungsten shot to a balanced fluorescent shot. I think if he'd balance both, they'd be close in the end? https://www.youtube.com/watch?v=onom8tpiof8

Hello all, Finally sony replied about recording limit. its 29min in 4K. Web site was mistake. I got mine delivered yesterday. with 29min recording..

to remove the spherical section you need to unscrew the 2 screws near the seam between the writing on the anamorphic section and the ribbed part on the spherical section. it will then unscrew off. for the focus mechanism, remove the two screws on either side of the focus part. it should unscrew. if not, you will need to feed a very small amount of lighter fluid into each of the holes where the screws were. literally a grain of rice worth of a drip per hole. any more and you;re risk it going into the cememnted anamorphic part. zippo 'petrol' lighter fluid will break down the dried up lubricant pretty quickly. apply it with the front facing down so the fluid doesnt travel towards the anamorphic section. Once the front element housing is unscrewed (around 5-7 turns if i recall) you can then use a rubber handle of a screwdriver as a mallet to break the friction weld on the front element retainer ring. A few sharp knocks on the front rim should break the bond, then a lens opening tool will do the rest.

More details here

This camera, like most Canon products, is clearly more than the sum of its spec sheet. The image is cinematic as hell.

Very intresting wolf33d. My two cents is I would not trust a camera with a movable sensor for landscape photography. There are heat dissipation issues and the slightest software/hardware glitch and the sensor become unaligned to the lens and you get blur. Many photographs ALREADY go crazy with micro-focus issues with fixed lenses and sensors. For centuries, it has been true in photography, and all machines, if it CAN go wrong, eventually it will. This is ALL theoretical but in my "real world" I need to have the most confidence that the least amount of stuff will go wrong. That's subjective, sure. I pick up a Nikon and I get this sensation from the camera "I will always turn on. I will always get you a shot quickly and competently." The question is very simple and should be respected. Are the trade-offs Sony made to get in-camera stabilization worth the risks one takes in long-exposure photography. Unless one works in landscape photography opinions should be circumspect? Bottom line, thank you for having the guts to post your opinions in a "4K is the be-all and end-all of all things camera" Forum. I say that with Love for EOSHD

Many thanks to the positive comments Many of the shots here are actually re-graded from the originals. Encouraging to see the rapid improvement but shocked to see what I thought looked good previously!! The video you mentioned Aaron is "Davoodi - Party Life". I think another puppet video is on the cards soon! So much fun.

Yea, I tried to help Kristopher with this issue, but the problem was basically unrecoverable. I did make him a LUT though, which just turned the blue spot down to look less saturated while trying not to affect skin tones. Others have suggested avoiding the problem by shooting white balance higher than 5000k and turning PP off. Assuming you were also using SGamut, my best guess is that your problem lies there, specifically it being too wide in the blue corner when scaling into sRGB, and with a lot of blue LED light in your signal -- see image below -- If you look at the problem with a scope, it's not actually clipping blue, it's red and green that are dropping to zero past a certain threshold; blue still has data. That makes sense if you consider how wide SGamut is in B. I also suspect it's the reason people are having other color problems shooting log with the A7s. Another more analog solution could be to use a blue blocker (orange) filter to avoid triggering or overrunning the threshold and then color correcting for the orange in post.

I purchased a set of the Wasabi batteries and charger from Amazon when I bought the camera. One of the two batteries fits a bit "snug" and I have to use a pointy object to pry it out of the camera. I still plan on using it as it works fine otherwise but just keep that in mind when purchasing them. I've heard others report the same issue of the Wasabi batteries fitting too tightly. Battery life with this camera has so far been decent but nothing to brag about. If I knew I were going to be using the camera for video all day, I might want four or five batteries to feel safe.

Thank me again when your house is on fire and your kids and wife (if there are any) dead! Charger really makes sense, charging in camera sucks.

hi vaga id like to hear what ppl think about this too in my experience its not great but alright, but mind you ive barely shot any stills and ive just been using the 100mbs 4k and 120fps options with the screen on almost all the time doing some casual test shooting. i havent had a chance to completely wear out the sony battery cuz i dont have any backups yet but ill get back atcha when i do speaking of extra batteries.... do you guys have any suggestions for the "transcend u3 card" of 3rd party batteries on amazon? lol i need that delightful dichotomy of reliability and frugality P.S. cant believe i spelled dichotomy right on the first try

this looks OFFICIAL. ba Each and every image - I shot, lit, edited, graded. A little directing. Very involved in creative ideas.sicc. did work Core crew was mostly 4-5 regular people in these productions (Director, DOP, Production Manager, Spark, Make Upawesome and inspiring to see you producing such nice stuff without 3 dozen ppl at the video village (im trynna keep some of the scenes in my first feature p bare bones). hell yeah. you must have a great team The aim is to have 100% new material for Showreel 2016. Max creativity required.

Awesome!

A general warning RE: over exposing log. Yes It reduces noise as you can effectively push the floor down in post (perhaps beside the point but this is how Dolby noise reduction worked in way in audio with pre-emphasis) BUT you lose over exposure latitude and usually more importantly, the skin tones are pushed further up the log curve and can end up with les data allocated to them than if you just shot 709. i wouldn't personally bother with 3 stops over TBH. Though you may find a use for one and two. Best generally is to expose properly and just de noise, I find. smooth highlight roll off is one of the joys of log. I wouldn't want to lose it over a bit of noise...

So, so good man. Really love the work. The website's alright too

Nice job. I want to see that puppet video!

Hip! Looks great.

Should be here by Monday! I wish they'd made it 12mp-ish, then the low light would have been killer for a one-inch sensor due to larger pixels. Best of both worlds, and would have eliminated the only big down side. the Canon XC10 has a 12mp-ish 1-inch sensor and can hit ISO 20,000. Still, i think it'll do what I need, which is to fill in where the C100s let me down: frame rates higher than 30 and occasional 4K shots.

I'm working on an edit as we speak. It transforms skin tones. Much less yellow cast to warm hues.

I see dead people!

Those aren't dead pixels. They are hot pixels. Enable the long exposure NR in the menus dude!! Why do you think almost every camera on the market has that option? And who the hell underexposes at 15 seconds by nearly 4 stops?? A mad person that's who! To say it is a no-go for landscape due to this... is nuts. It is a bad test because it has no relation to reality. People do not go around exposing their garden for 15 seconds, then finding they are lacking 4 stops of light. "No go for landscape". How about we align the tests with the real world. Expose for 15 seconds, turn on long-exposure noise reduction, let the NR also happen on default levels in the raw developer, results will be fine. That is not what I call a 'no-go' for landscape photography. Also what other 42MP full frame camera are you going to use, which does a sharp shot handheld at 1/4 with a F1.2 lens and usable ISO 6400 when exposed correctly? That is not what I call a "no go for landscape", even low light landscape. And one more thing to conclude the rant... What version of camera raw are you using? For example, Adobe haven't released support for the A7R II yet, so it could be a raw developer issue vs the other cameras which have established raw support.

:O :O :O :O :O Edit: OMG the soligor is worth so much too! http://www.ebay.com/itm/SUPER-RARE-NM-SOLIGOR-135mm-F-2-0-SUPER-FAST-and-NEAR-MINT-42mm-SCREWMOUNT-/351200815947?pt=LH_DefaultDomain_0&hash=item51c5332b4b Looks like im getting something better than the a6000