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Hey Everyone, Last month I finished editing my last job with my T3i (since then i've upgraded to the Nx1), most of my jobs are weddings, even though I like doing some of them, I'm burnt from having quite a few this summer. So I've been doing some tests lately with Luts and finally decided to grade a job with it, I very much liked the end result, got a "cinematic" feel, but theres always room for improvement, so I'd like to know what you guys think of the video in general (editting, grading, filming and so on). Password : Memoryshop Thank you guys

Since we had a big spam attack last week, newly registered members had to have their first posts or replies approved by a moderator. Unfortunately this system didn't work and most new members could not post at all from the get go. I have taken the locks off and now you should all be able to post and use the forum as intended. Enjoy EOSHD!

Well, I shared the piece with my class as they are all on the Canon t5i train and clueless about other options. So thanks for the article. I don't care what they choose as long as they're informed and aren't just choosing a camera because they know the brand is popular. Whatever they chose, there should be a reason, a feature, that makes it right for their project.

Hi Guys, so the adventure movie Tepui Dream about journey to the highest waterfall on the Earth is ready now and with english subtitles :-) This expedition will lead you through the jungle to the Ayuan Tepui the mesa in wild Venezuela shot on Panasonic DMC G6 and edited in Sony Vegas 12 Pro. I hope you will like it.

I've used it quite a bit now and I'm loving it with 10 bit recording sans plain walls or sunset. Just shot part of a music video with it that I'll post some clips soon.

So I updated to OS X El Capitan after reading it was safe to do so. And everything seems to work fine, except that my program bus looks like this for everything, but only when paused. When playing it's all fine and I am right now exporting the project to see if everything is good on that side; (see pic) Anyone else having any kind of problem with it?

they look superb - just read the rokkinon v veydra test - they are alot sharper than rokkinon . As you know I do like the Tokinas as they are low contrast - so these veydras are very appealing! the other thing that is good is the size of these lenses I just shot days of car interiors dialog scenes for this film and I used Fujinon C mount lenses (machine vision lenses) , 25mm 35mm 50mm as they are small and dont wobble around at all , all at f2 these verdras are small enough to use for in car footage very nicely

Looks quite cinematic actually, so no harsh handling of either dark tones or brights. It's really a lens that doesn't discriminate. That's kind of where vintage lenses excel. They can be very low contrast, have crazy bokeh, flare like a spaceshuttle... you name it. Not so much with these. Just very tame and smooth. Much lower in contrast than most of my modern lenses. Sure enough not as Tokina RMC-like flat either. Maybe I can get around comparing those two in particular on friday. Have to head out anyways. The Veydra wasn't the only special guest to show up...

Yeah. They don't seem to get much attention over here, not sure what's up with that, but they're quite brilliant. I mean, they're not converted still lenses like the Rokinon/Samyang/Walimex VDSLRs, they're proper cinema primes. So close to no focus breathing. Incredible focus throw to nail that focus and being able to smoothly transition small changes. Gears are on the same spots for all of these Mini Primes; their physical dimensions are roughly identical. For me its brightness at T2.2 is close enough to the 'Hollywood f/2'. They're incredible at resolving detail, though more so if you squeeze the aperture just a smidge. Very little distortion. Other than that very neutral and controlled, bokeh is calmly pleasant and specular highlights are nice and evenly round. Get 'em all, swap one out for a different focal length and keep the same look throughout. So it's not a lens you'd throw in front to get a really artistic effect, but it is if you need to replicate results and/or just need to deliver the best optical results with the stuff you can afford. I'd say there's a time and place for everything. I still adore my vintage glass too. The problem with modern lenses I often find it to be that it actually looks 'cheap'. Very sharp, very contrasty, very vivid poppy rendering, saturated. Like the folks that live in these residential park homes, lots of white tones, lots of gold/silver accents, chandeliers, usually wearing a jogging suit, women mostly have something with a tiger/leopard-print on it, chihuahua most of the times included as well. Yeah, that's a little too screamish for me. It's supposed to appear posh, but in doing so actually looking quite cheap! But this doesn't come across anywhere near cheap. It's like James Bond. Sophisticated, classy, charming and up for a challenge... Working with the crop of 4K on the GH4 or just the BMPCC gets difficult sometimes, or should I say: challenging? So I'm glad there's a real 12mm contender now. So I'm excited to see how that will pan out. Obviously a big plus is the size of these lenses. In terms of size and weight it's about the same weight as the Olympus 7-14mm f/2.8 PRO and even comes in a bit smaller than that. But we're not talking about the power of a fun M43 lens, it's production level stuff here. So, that's pretty crazy. If you were a visionary and saw something in the Veydras and Ryan Avery, you could have gotten all 5 Mini Primes that make the current set (12, 16, 25, 35 & 50mm) for 3199 USD. Doing the math for you, that's 3199 / 5 = 640 USD/each!!!1! That's almost (but actually really not quite) some VDSLR level sh*t, but you're getting Mini Primes. Any better ways to invest your money? The timing didn't really fit in with my skill level, just being honest here, but I do well for myself and couldn't let such an oppertunity go to waste. Haven't worked with anything high end ever, just a rookie, so can't tell you how they compare to like the Ultra Primes or something. But then again, already a bunch of folks did that... e.g. Best source on this is probably Adam Wilt: http://www.provideocoalition.com/first-look-veydra-mini-primes-for-micro-four-thirds , http://www.dvinfo.net/article/acquisition/micro-43/quick-note-veydra-mini-primes-tested-kickstarter-ending-soon.html . Noam Kroll: http://noamkroll.com/veydra-mft-cinema-lens-kit-review-rokinon-cine-lens-comparison/ . Next up for Veydra is releasing a 85mm and something even wider than the current range. Of course they're working on anamorphics as showcased at NAB. They've released a lens collar to help with follow focus issues keeping it locked down tight under action and very exciting is the user swappable lens mount, now you can install Sony E-mounts on the lenses and except the widest that will vignet, they will cover APS-C/S35! Imagine that on a A7RII with image stabilization, handheld! Though, I'm not thinking about going fullframe myself. A Mini Prime is fun because it's Mini, no intention of getting fullframe covering glass just for the A7-series, so then the fullframe body doesn't make much sense either. I'd then rather get something APS-C... and with the E-mount option I'm hoping the A6000's successor might just be everything I'm hoping for. In somewhat lower light conditions stopping down to f/2.8, f/4 and then bumping the ISO to 3200 or 6400 without as much deliberation as you would on M43. If the RX100M4, RX10M2, A7SII and A7RII are some tastes of what Sony is cooking back there, then I can't wait to see what they do with an APS-C mirrorless camera! Of course, if you're shooting APS-C Sonys, there's also the S35 only covering CineAltas. A while back I've seen a demo set (SCL-PK6/M) that went for 4850 GBP and includes the 20, 25, 35, 50, 85 and 135mm T2s to give some indication. Want more serious! That's sounds plenty serious. They've dropped way in prices. These would've set you back 20000+ USD not too long ago. The XEEN lenses shortly had some spotlight, not sure what to make of them yet. Tokina still has somewhat affordable cine zoom options. Seem a little overpriced for being based on their existing zooms for stills, although they're reworked quite drastically, so maybe I'll cut them some slack. But what I like about a Veydra Mini Prime though: it's still a manageable size/weight! I do get, that if you didn't back them with the crowdfunding to get them up and running, you're looking at a bit different prices and that might not convince you as much... but still it's crazy value. Anyways. To stay on the Sony subject. Here's a short mention on Erik Naso's facebook about him succesfully using it on the A7S: https://www.facebook.com/photo.php?fbid=897970966916637 . I think more and more people are now discovering the lurking power of the Veydra...

What's the DR mediocre in comparison to though? I have seen tests between it and various cameras like the BMPCC, A7S and FS7 - all of which have claimed more than the 12 stops that the c100 apparently has and none have seemed to top it really. Would absolutely love the Ursa Mini 4.6k but atm the feature set of the c100 suits me more, not to mention the cost of media. I'm not convinced it will drop in price very significantly for a few years either. I mean look at SSD's. They've been around for a while now, with the market growing exponentially but the cost is still falling at a slug's pace.

For documentaries it's perfect. I'm still on the fence whether or not it's a good commercial, short, music video camera. The big pro's of the C100ii are Dual Pixel AF (great for situations where you're needing the shot nailed in real time, and not rehearsed), ease of use, extremely long battery life, great audio controls, and small but robust file sizes (for long recordings). The con's are that it's 8 bit 4:2:0 and mediocre DR for it's price. The image is solid, but not the best in that price range. I'd keep an eye out on the Ursa Mini when they release some footage. I think it'll be ideal for shorts, music videos, commercials.

Here are 5 clips from a shoot I did with a realtor. 10 bit V Log via Ninja Star. Please don't share! Password: GH4

Well, ok, not then. This showed up on the doorstep here today... Felt that was a somewhat safer bet. Not to confuse 'em with the others, I've started labelling 'em front and back.

Had the same problem and it was also solved by going to Project Preferences and switching to CUDA.

Yes to all of that. You can add the menu audio levels on a custom screen with your most-used menu settings.

Nice work there! I did the 48hr film project with some friends a couple months ago, so I know how challenging that is. What camera and lens set up were you using? How much did it weigh?

Thank you a lot and I send the best regards to Vienna from Brno! :-)

In Nick's post, he said his (slightly different) modification could focus to about 40 feet, later in that thread John Barlow said he fixed this using a cemented 2-element negative achromat (BTW, if anyone knows which achromat he's talking about, please let us know). Earlier in this thread Rich posted an screencap @ infinity with his helicoid mod, it seemed fine. I measured the focus travel distance of the unmodded B&H...the front element moves approximately 4mm when you focus from closest to farthest. The helicoid has a travel distance of approximately 14mm, so there's a lot more play with the modded focus. Based on this & Rich's test photo, my guess is yes, the modded version of the B&H should be able to focus to infinity. Once my mod is done I will test & confirm.

Sam, you can use EF-S lenses on EF mounts (doesn't require a special EF-S mount). The projected image just isn't intended to cover fullframe sensors. This is a note on the Metabones site: 'Vignetting at corners may occur for certain EF-S lenses because they are designed to cover a 1.6x crop image circle but Sony NEX has a 1.5x crop sensor'.

The Zeiss 135mm 1.8 (A-Mount) is my dream 135! Still dang pricey, and not the best mount really http://www.bhphotovideo.com/c/product/463924-REG/Sony_SAL135F18Z_SAL_135F18Z_135mm_f_1_8_Carl.html

I made the mistake of upgrading to El Capitan too hastily today and experienced the same corruption when using OpenCL acceleration. What saved me was installing the latest CUDA driver from Nvidia and then switching to CUDA acceleration in Premiere project settings. That seemed to work, which is strange as before OpenCL was the stable one while CUDA gave me all kinds of problems.

Awesome job on that! Great sense of pulling your audience in with story, visuals and sound. All the puzzle bits just fall in place. I loved in particular the sequence at 14:13-14:19. Well implemented use of motion and composition for the shots. The look came out looking great! Nothing 'meh, M43!' about it. Well done.

Brussels, 1958 exposed some great gems! Russar MR-2, Mir 1, Tair 11, Tair 3, MTO 500 & MTO 1000. Grand prix worthy!

See what I did there? Any who, lots of blah blah about smartphones beating "real" cameras. IMO no camera on the planet is better than another. A smartphone easily beats an Alexa. The Alexa kills the GH4. And a GH4 is much better than a smartphone. It all depends on who, where, when and at what cost. Still, shootouts are fun. Don't have an iPhone but my LG shoots 200Mbps. My G7 was shooting Cine-D. The XC10 was rocking C-log. Had two misses with the ND in the video and haven't even tried to match them in post.

From what I understand, it's great with higher contrast scenes and drastically improved by 10- bit recording. It's flatter, lower contrast shots, especially internally recorded ones, where it struggles a bit. I've heard some people are intercutting it with CineV with good results.

watched it with the sound off and missed the point of the video :3

Ive been out the loop all summer directing a film , back on here again now and excited to see this v log update - for someone coming late to the party whats the verdict ? is it worth having?

and alternate is the Russian Tair 135mm f2.8 is a killer sharp lens that is very very good ..and cheap on ebay I highly recomend it - mine gets alot of use!!

It makes great pictures, but it's a glitchy bugger.

Agreed, it's interesting times. And being patient is def key! Everyday I wanna swing by B&H and pick up something else but I just got to stay patient!

Imagine if this happened when you already had footage on there! You could either reformat or stop shooting... This sort of thing makes me nervous about using bridge cameras and consumer cameras for paid work...

A late response but i shot a wedding this summer on the NX1 with a 12.000 mAh USB battery. No problems what so ever during the 7 hour shoot and the battery lasted all day.

The NASA quote above is cute, but also gave it away a bit too easily. The mystery lens is almost certainly a 25-120mm K35 zoom with a 2.4x speedbooster to work on the Ikegami EC-35 2/3'' vacuum tube camera. (The Kubrick lens is a 70mm f1 with a 0.7x speedbooster adapting to 50mm f0.7–or close to it.) Coverage is unusually good for S35 on the original K35 zoom, but I would be VERY VERY surprised if this covered S35/APS-C. That's crazy to assume it would. If it does I'm SHOCKED. That said, there are two possibilities: After the speedbooster group is removed and the mount is modified, this becomes a 25-120mm K35 zoom with incorrect markings, making $1.5k an insane steal. That is IF the optical design is really that simple and it's possible to take it apart and retrofit with a PL mount for under $1k or whatever. If it's not simply as a 25-120mm K35 with a condenser and is actually an entirely different lens, it's still a pretty awesome lens on the t3i with 3x crop mode, giving the genuine K35 look. It might even cover the BMPCC. But the cost of adapting the mount for infinity focus is still there.

you can still buy it if you hurry upp

I still have almost one can, I think it have like 350ft. I still need to shot a couple of shots. Here are they like new

OK, I tested the camera, shooting non-stop for 3 hours, immediately restarting every 1/2 hour with each time limit. Quite amazingly, the camera showed zero signs of problems (was barely warm) and probably could have gone indefinitely. Also, you can use the USB cable for power if you need. Bottom line, NX1 should work fine for arbitrarily long shoots.

Thanx a lot TheRenaissanceMan! My settings on G6 is -5,-5,-2,-2. The picture is really very flat. I do not use any LUTs or Magic Bullets looks etc. in Sony Vegas, all is graded shot by shot manually. Firstly I decrase colors by "black and white" function then use Color Corector + saturation+gain+gamma+offset, after I play with RGB color curves. I also use the film grain background to make the picture more "organic". The lenses I mostly use are Panasonic 25mm F1,4 then Panasonic 14mm F 2,5, for longer shots Canon FD 85mm F1,8 and also Practicar Pentacon 135mm F 2,8. It is very important to use correct ND, I use only fixed ND 8 and 4 and 12. As G6 and also my lenses are not stabilised it is somertimes hard to make proper shots when climbing the Tepuy or when wading through the swamp in the jungle

Yeah I thought about that. I wanted to write something though - not just list gear. And most of the audience is completely in the dark about Panasonic as far as I can tell.

Again you failed to read what I said. I said she didn't want used equipment listed. I talked about the GH4, NX1 etc. I don't remember praising them particularly. In fact I said 4K is unnecessary. I don't think it's misrepresentative to say those cameras broke Canon's near-monopolising of hybrid video though. They did. Outside of a few forums like this Canons are the go-to cameras for cheap large sensor video. How do you see the current camera landscape? And enough with the crap about rules. I came here asking for your opinion. I'm not looking for validation. I know the package I put together is good. I just thought I might get some sensible suggestions of other packages that fit the brief from intelligent, mature people. How embarrassing. As english is my native language I can (unfortuneately) sail through life completely ignorant that other languages even exist I just assumed it was Spanish because of the Venezuela thing ... Look forward to seeing the subtitled version though. If you send me a link when it's done I'll try to include it in my next article on Desktop Docs: (matt at lintelfilm dot uk)

Interesting that you came up with such a similar kit. Some good ideas there too - the 17-50 Tamron is an amazing bargain (Mark 1 version only though!). I think that with a Chinese Speedbooster is a killer low budget set up.

I do not think that G6 is old hat. It is still very capable camera. This adventure movie from Venezuela Ayuan Tepui was all shot on G6 (except of some GoPro shots):