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pictured with 85mm Rokinon for size reference I received the Pl mount Trump 58mm T2.2 last week (38mm coming soom). It comes with the case and various aperture inserts for effects such as 1.5x 2x 3x anamorphic style bokeh, tints, shapes etc...Swapping these inserts is as simple as unthreading the rear optical cell (which is also customizable) and inserting the chosen aperture (all of which have a notch that easily aligns with a tab inside the lens). It has a 270 degree focus throw. For reference: Rokinon and most other still lenses do not even have 180.(which makes finding accurate focus more of a challenge) Smooth variable aperture from T2.2 - T16 Easily converts from pl to ef via adapter. As I haven't spent a lot of time with the lens yet, I can't comment on its look and how it compares to other lenses. Check out Bob Gundu's work to get an idea of the look these lenses can create. I would also like to add that Rich asks for examples of your work so he can customize your lens to your style/taste. He noticed I used the Anamorphot 1.33 and then made a custom recessed step down ring for me to mount the slr magic Anamorphot 1.33 on the Trump. (no charge!) Great product and service! These lenses are truly a work of art. http://www.richardgaleoptics.uk/ (Richg101 for Eoshd readers)

Oh no, Xavier, by story I meant any coherent message that the images speak as a whole, the subtext, the underlying message that talks to us as humans at a higher, intellectual level rather than at a purely sensory (visual/auditory) level. E.g., many interpreted even the little pizza rat clip as an underdog "story." A more obvious example is of the buffalo that saved its calf from lions that clearly has a "story" I'm talking about (a beginning, middle, and end, to use the cliche). If there was such a message in Watchtower of Turkey, I didn't get it. It seemed to me like a juxtaposition/collage of beautiful images, much like a Victoria's Secret fashion show. E.g., frenetic cuts like that can indicate a frenzy of wild activity, but I don't believe that's what this filmmaker intended for the tourist viewers. What then was the purpose of this kind of cut other than to look cool and generate discussions like this? Anyway, I sense clear disdain and disapproval of my comments here (talking of subtext, I can easily read "what the heck do you know?"). But guys, rather than immediately push back, please consider what I said and discuss because we're all trying to be better filmmakers, and I for myself might be missing an important point here.

The A7R2 in aps-c 4k mode is outstanding - clean to 25600iso, little to no nasties at all. Full frame is a little ropey but still good IMO, and still way better than what you'll be used to with the a7ii. I shot all of this in full frame mode on the a7r2 _ https://vimeo.com/142447881 password: scotland I was shooting with a 24mm f5.6 lens so the iso was usually at around 3200-12800 in some of the lower light scenes. As you see, the image is good, even on the flawed full frame mode. As you probably know, the still mode is unreal, and having a full frame 42mpx camera for stills and a camera that shoots flawless 4k in aps-c mode, as well as damn good (if a bit flawed) video in full frame mode is a great package - particularly now it shoots uncompressed raw in stills

Some temple scenes shot in 4K on a Samsung NX1. Handheld using the Samsung 16-50/2-28. Gamma DR, Contrast -5, Master Black Level +10. Film Convert (Red / Epic X / Redgamma 3 - Fuji Astia 100). FCPX. Music is "Shanghai Dream" by Christopher Ashmore. Some of it turned out OK, but some spots I think I missed focus and other parts came out over exposed. 4K version .... https://www.youtube.com/watch?v=qTV2EnP0YM0

for me this is one of the most useful color grading videos I have seen - the amount of work he does in each scene is remarkable. Basically he throws a lut on the end - even though it feels like it throws it on first - it's an output lut. then he makes the shot overall color, then tweaks the low, mids, and highs. he adds power windows - brings down the window - lowers exposure on stuff you don't want to see - other than where the action is - and in these shots it's the person talking. then he goes into the faces - he usually adds a power window to bring up the exposure on the face where he wants it. then he isolates the skintones, gets those to look healthy, then he does secondary correction, like making the lips more red and adding some highlights to the head. God, overall, as I say it again and again, as long as you are shooting with as much color information as you can on the camera you can get - the colorist does a ton of heavy lifting in addition to how well the DP can light the scene in the time alloted. but the difference between hollywood and small films is usually in the grading, beyond good lighting, composition, etc - this is so often forgotten. And this is why I go bonkers when I shoot something on the alexa and it comes out and looks bad. I mean, I screwed up in how I shot it and lit it - I can't free myself of blame, but many times the piece goes to a colorist and I have no way to communicate with that person on style and look and it comes out screwbally. I wish production and post worked together more. But anyway I guess this is a weird way to learn about film worked since I have hardly shot anything on film. Film hits the telecine since the 90s and is turned into a log called cineon and from there gets tweaked and then put out on an answer print - and back then they would simulate the answer print with a LUT. So I guess all this is part of how people have been shooting films for a while now.

I think so, due to 3x crop, like BMPCC. Its image field is already smaller than Nikon-1's 2.7x.

My impression is that for the average shots it will be difficult to notice the difference. For deep DoF nature shots then it might be easier to see the difference. I default in FF mode since it has less rolling shutter too. Only in low light or when I want a narrower FoV I switch to S35. (Also it has been tested here, and here)

No way,Gh series don't step to FF,except Pany release new series,new mount. May join T mount and called Lumix LS. my expect for GH5 is real Global Shutter, and full readout (no sensor crop),new monster continue-video Auto Focus. i don't care about mega pixel.

Kaylee. I couldn't imagine waking up with a tombstone over my bed, and feeling like you've just woken up and returned from being dead.

Yeah in my experience the external recorders make a minimal difference. What ISO were you shooting Inazuma?

Agreed. I'd also say that unless you;re shooting on an external recorder, 100mbs simply aint enough for a log profile and the associated hassle. With so many 'LUTs' being made by people with no understanding of what they're actually meant to do I see most s-log footage being 'lutted' to the point where the original dynamic range could have been 7 stops and the delivered result would look the same. I don;t think I'd ever select one of the log profiles. I;d rather shoot in Neutral with the contrast and sharpening dialled down and actually feed the in camera compression algorithm with something nearer the final result so more information is dedicated to detail that'll make it into a rec709 crush down. Let the zebras protect highlights and pull shadows up in post if required!:)

The A7RII doesn't have Slog 3, just Slog 2. Slog 3 has been a bit divisive on the A7SII so you're not missing out on too much.

Well, technically, yes. The further the front diopter travels, the closer focusing you get. You might get some vignetting, is all.

i like how you mentioned sound bc thats huge, id really go deep with that have you ever been on ecstasy? do you want more specific feedback? i dont mind saying: the only benefit of surviving a life of drug addiction is that you can SPEAK ON SHIT LIKE THIS i have NEVER seen a film about heroin addiction that depicts that experience at all realistically smh. but, ykno, trainspotting was based on someone elses book etc etc

No, sorry if I sounded disapproval. I love to discuss "content" instead of Mac/Pc or 8/10bit discussions!!! We'd better not use YouTube counts as a measure of quality. But makes videos for near-zero audience it's not cool either! I see this type of editing as a "virtuosistic" version of normal editing. But I must confess that I have enjoyed Joe Satriani and Steve Vai quite a bit! You either like it or not, there is nothing wrong with not-liking it!!!

I agree that it was a collage of beautiful images but I wouldn't compare it to a Victoria Secret fashion show or any unrelated cellphone video because of the "view count". I'm not really one to be a critic either, though; mostly because I prefer the humble nature of an open minded audience too. The mouse video catered to a certain crowd.. rightfully earning its view count with female viewers likely saying "awwwwwwww" inadvertently in perfect harmony. Nothing wrong with that. Content is king and Watchtower of Turkey packed a bigger punch for me. I'm not trying to compare it to any elaborately written short film that I may have also loved but if a picture is worth a thousand words than I just watched what felt like a billion in under 4 minutes.

Kaylee, A Goth but an older one, I remember when "Black Tape For A Blue Girl" was still actually "Black Tape For A Blue Girl" not the cover band they seem to have become today. Haven't really checked out whats new at Projekt.com in a while. I don't have much experience with sony slog other than what andrew has graciously provided for download. I have the GH4, and 8-bit internal V-Log-L is producing magenta -cyan macro blocking in skies, areas of continuous uniformed light colors, and so forth. Most with GH4s have come to the final conclusion that to get the best out of V-Log-L it is essential that you get a external 10-bit recorder to do it justice. When I saw that Andrew had posted some sample S-Log3 footage for analysis and or grading, I thought I would see how it compared to the what I was getting out of V-log-L. From fooling around with S-Log 3, I find I initially like it better than V-Log-L. This could be because of the lack luster log to linear conversion LUT panasonic recommended for conversion, simply panasonic's inexperience to optimized a log profile for a camera in this particular price range or panasonic just wanting V-log-L to be compatible with Varicam V-Log LUTs. I'm not smart enough to give you an informed opinion on which. I have graded V-Log-L and S-Log3 both form scratch, with Avid Media Composer for V-Log L and Adobe After Effects for S-Log3. I have also Graded Both using LUTs I made with LUTcalc version 2.1 which you can modify for most of the various log profiles currently available you can try it here: https://cameramanben.github.io/LUTCalc/LUTCalc/index.html From grading from scratch and using LUTs, I like the the way LUTs interpret the log footage to linear space better. I was told from others after finding out that i thought grading from scratch was better than using LUTs that you could still get a good grade from grading from scratch, however the interpretation from log to linear would be better with the use of LUTs. I didn't believe them then, I believe them now. I don't ever want to get rusty not grading from scratch but I think, IMHO, both combined are better than doing it entirely with just one or the other.

Hi Rand!!!! do we have a new goth?? hi???? yeah so, i feel like for new readers there could be some confusion after perusing this thread regarding the dichotomy between a discussion of subjective color grading, "looks" if you will, and the potential for pleasing color from the new a7sii [using slog3]. two totally different things, for the uninitiated also ~ a lot of these lut looks are reductive in nature in terms of color; fewer, flatter colors, which in my experience is definitely the case natively with slog2&3 relatively speaking, so the two have really gotten along swimmingly since the a7s blew up. not saying thats good or bad, thats another discussion that being said, im gonna take a positive stance on the new a7sii slog3 footage and say that it looks ~WAY~ better than slog2 from the a7s

Yes the NX1 still over sharpens but it also does capture more detail as per the image below. Has anyone got a A7SII, and can relay how well it focuses without Phase Detect AF? I assume it crap with adapted lenses and OK with native?

I understand what you are saying, but I learned a long time ago that a grade is completely in the eye of the beholder. Some people will hate my grade some people will love it. I have seen grades that are technically too dark and some that were too bright. I have seen grades that I thought were technically too red, green or blue, too saturated( my own included) and not saturated enough. Some times you have to look at a grade not in "your own taste"or on it's technical accuracy but as someones else's artist expression, right or wrong and appreciate it for that.

That poor rat is trying to feed his adapted turtle kids..

yes you track the skin tone masks and in resolve it is super accurate. Also watch the behind the scenes of coloring birdman - it's amazing how that guy did it These guys are unsung heroes -

Great writeup Jones. Any chance you can weigh one of your lights? To save a little time/effort I used replacement cords for power tools as the light power cable, circular saws draw a lot more power than lighting fixtures, these cords are more than capable. Then you only have to connect positive/negative/ground once for each fixture. http://www.homedepot.com/p/Husky-8-ft-16-3-Power-Tool-Cord-AW62631/100661442 I didn't use switches either to keep wiring easier, I plug them into a strip outlet and turn them on from there. If I want less light I just pull a bulb or move them further away from the subject.

Hi Xavier, it is a form of "invisible cut "editing, there was a brilliant article on the technique on nofilmschool last month. Real eye opener. I hadn't realized myself but its an incredibly sophisticated technique of very carefully matching shots that are visually similar or connected. In particular the motion and speed of motion of the cut shots is vital. its very time consuming to get right apparently.

There is something else I would like to add... I have massive amounts of respect for watchtower of Turkey because he couldn't crop 4k to 1080. The same goes for Matty Brown. They physically whip the camera away after they get the shot. What others are doing now is taking static shots in 4+K and panning and scanning. But keep in mind that this will only look natural if you use curves and expressions in AFX. I have seen some videos where the filmmaker did not take this into account and their videos didn't resonate with the audience so well. I will not be linking to these out of respect for their effort.

REDUser threads are cringeworthy: 1st page then stopped.... "Ursa just got URSED!" It's like some of them are in an army - "our country is better than yours" kinda vibes. It fits with the product naming scheme I guess. That said, RED cameras are awesome.

It's quite a 90s style edit with flinchy jump cuts, but these cuts are often facilitated her by modern things, such as stabilised timelapse and so on. So modern retro. a very up to date post-modern classical soundtrack (like Einaudi, Max Richter, Clint Mansell etc, the music is almost interchangeable with them) As a matter of personal taste this kind of thing gives me a bit of a headache as most of the images don't get time to breathe, but that's just me. Like most such films the music does most of the work, if you put a different track on it wouldn't work so well, so to make your own start with a similar arpeggio or ostinato based track by Einaudi, Clint Mansell or Max Richter and cut away! EDIT: Yes it is Einaudi i checked on Vimeo. PS not a criticism of their music, more an observation of a genre style. I've seen Richter in concert twice!