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I wasn't even being a jerk this time! They found out I was banned before for life. This is my only forum now besides nofilmschool and cinematography.com. Until I get banned here.

DVX user - been around forever. Odd mix of experienced guys and newbie-kids posting about how to screw more junk onto their "rigs". There are guys in the audio forum that really, really know their stuff and are very helpful. Key & Peele's DP posts long, detailed breakdowns of how many of those skits are shot, immense amount of ideas for doing quality work very quickly. And then a zillion posts about "should I get this amazon 3-light 100 watt flo setup to shoot my zombie feature film". So, kind of the usual. I've posted my DIY HMI projects there and gotten into some good discussions; there's a ton of stuff there going back for years if you search.

It's basically like this

I've written another article for DesktopDocumentaries.com (as has young Master Ebrahim Saadawi recently - a great breakdown for beginners of what technical features make a camera's video image "good": http://www.desktop-documentaries.com/10-elements-of-a-high-quality-image.html). Mine is an appraisal of the current line-up of "affordable" video cameras on offer, looking specifically in the $2500 region this time (as requested by the site owner) and narrowing it down to a personal choice of the GH4 and XC10: http://www.desktop-documentaries.com/best-documentary-video-camera-2500.html It's a long one. Would love to hear your thoughts on any of it ... Note: A certain member didn't like it when I posted a link to my last article for DD.com. As a previously active member of this forum I'm here to get feedback from my peers and betters - out of personal interest only. No ulterior motives. Please go ahead and tear my article apart as you wish - I expect and even invite that. I will however not respond to personal attacks or comments made by anyone who has clearly not bothered to actually read the article. It's easy enough to ignore this thread if you don't like it so please do so. Thank you.

take the camera as hand luggage. put the box in your luggage. how can they prove you didn't bring it with you when you came into the US? They're too busy stopping people taking drinking water onto the plane to worry about your camera:)

Red was pretty important in the shift of the industry. They effectively, along with the Canon 5d Mark II lowered the price by hundreds of thousands of dollars of cinema cameras. They also kind of spurred the movement where younger nontraditional people could advance faster to positions of directors of photography. So they have that to thank for - and I own two red one mx. They are a fascinating company. Jim Jinnard is a fascinating leader - he is like the weird billionare guy on "Silicon Valley" or like Mark Cuban - and he made the company pretty exciting. He is like the Commandant from "Beasts of Nowhere" - kind of a bully, but a father figure. But now it seems like Blackmagic design is disrupting the system with Resolve and their cameras. Also now Sony is back into the game. And Arri has survived the transition to digital from film. I think on a nerdy level it's all pretty interesting.

Basically I posted about reduser.net - their other website - and how it was faking or using bots to make the amount of people viewing it to make it seem bigger than it was. Posted that on reduser then got banned then posted it on dvxuser and got banned. Beyond that, I also said on reduser.net how Red has gone in the wrong direction. That the red one was revolutionary and the red epic was basically more of the same but with poor ergonomically ideas and overheating issues that didn't make it conducive towards narrative work (giant fan noises) and only one hd-sdi out port and horrible audio options. Then the red dragon which they said was 20+ stops of dynamic range (and then they deny) was a flop because either you use it with the low light filter and dynamic range barely increases or the highlight filter and you have a camera that is only clean up to 320 ASA. And how they get people's hopes up then let them down is bad marketing and they need to be more realistic. And again, people are excited for the Weapon and the Raven, but honestly I don't know how much of an improvement this is. I don't think they liked that. And yes, I was being critical of them on their own website, but it was constructive criticism. I knew I would get banned especially for calling out their "fake" view counts, but it was me just being me. Truth to power.

well that's just what happens, Ed. that's what happens when you find a stranger in the Alps

Hello all, Tito has kindly allowed me to do some streamlining of the Lens-yclopedia database: I have templatized all the entries so key information is in the same location when you cycle through the pages.The template improves overall readability of the information.I've broken up Mounting Solutions into To Filter, To Taking Lens, and Lens SupportI’ve changed the Index to a spreadsheet that provides key stats for easy ‘comparison shopping’I’ve removed a couple lens entries that had no (or next to no) information.I've added a few bits of info on various lenses as I went through, particularly links to example footage.I’ve made significant updates to the B&H and B&L entries based on the info I gathered from EOSHD, as well as other locations. I'll keep adding to them as I embark on modding/using my lenses.Check out the updated Lens-yclopedia here. A great big huge thanks to Tito for allowing me to build on his great work. And to all the folks who have responded to my info-seeking posts. The information people have provided here has been invaluable for a newcomer like me. I was surprised at how much info I was able to find on the B&L, I cited sources in the Lens-yclopedia entry where I could - I would love to see all entries given source/reference links. I know people’s time is limited, but even just a morsel of info here & there would really help re-invigorate the database and make it more robust. A little crowd-sourcing can go a long way! I am considering periodically starting ‘Seeking Info About X Lens” threads to build up the other lens entries in the Lens-cyclopedia. If this is something you would like to see (or help me with), please chime in. If you want to send info my way (corrections, answers to red question marks, Lens-yclopedia functionality, etc), I will find time to update the database appropriately. Cheers, |. . | .|

I've been using the RX10 II now for 2 months and I've used it on about 4 low budget music videos exclusively. (none of these have been released so I can't share yet). Generally i've had a pretty good time using the camera - you can get pretty good colour if you modify the Slog2 preset, although I would never use the factory Slog2 as it looks like a pile of sick. There are a lot of good things about the camera, it's a lot of fun - but these are the issues I'm coming across: Under challenging lighting conditions, the image from this camera is exceptionally noisy - even under ISO800. This site reported in the RX10 II review it's usable at up to ISO6400. I don't find that to be true under any type of lighting whatsoever. Especially in Slog2 - noise is absolutely insane. This camera needs a lot of light, and I'd only go up to ISO800 in those conditions too.Focus peaking is slightly inaccurate. At the telephoto end, this makes it tricky to focus. 120fps in HD looks very close in quality to 4k. Great for 1080p, but what does that say about the 4k? Hmmm...Does anybody have any RX10 II experiences to share? Any decent picture profiles? Good results concerning noise?

Have you guys been working with the Lumetri Color in Premiere Pro CC2? I haven't heard much talk about it but I think it deserves some attention for people who may have missed the release notes. Just found it myself, but it literally has changed my entire workflow overnight. My old workflow used to be Levels, RGB Curves, and maybe either Filmconvert, Colorista II, or a LUT. But....I find none of that necessary anymore with Lumetri Color. Everything corrects and grades so easily like you're editing a frame in Adobe Camera Raw. Temperature, Tint, Exposure, Contrast, Highlights, Shadows, Whites, Blacks, Saturation....all the sliders are there. And surprisingly, it seems to work very well with 8 bit frames. It knows of S Log2, S Log 3, etc. The rgb curves are incorporated into the filter. It also has tools with Color Wheels, LUTs, Vignettes. And it renders fast. One more thing. Not sure when it appeared but the Lumetri Scopes Window has a live histogram that I've always been wanting and needing.

As it's almost Halloween I thought it would be fun to start a thread for everyone to share their own horror short films. Mine is a a three-chapter Lovecraftian miniseries titled "The Crawler in the Dark". The story is about two scholars who discover an ancient artifact with which they can psychically explore across space and time, but leaves them unwittingly exposed to a malevolent psychic traveller: Chapter 1: Eplilogue http://www.youtube.com/watch?v=5cOycfQFZPM Chapter 2: Old Friends http://www.youtube.com/watch?v=OBtZBIV_o7s Chapter 3: The Traveler http://www.youtube.com/watch?v=SeuQpYDs5JI And here is a film I shot last year, but recently re-released in it's original 4K resolution. Titled "No Face", it's about a supernatural entity lurking inside a survival horror video game. http://www.youtube.com/watch?v=_aJLKKjUYUc Both films were shot mostly at YouTube Space Tokyo during their Jidaigeki (period film) and House of Horrors limited programs for local YouTube creators. Most of "No Face" with the GH4 and SLR Magic 10mm Cine bolted to a custom helmet rig, and "The Crawler in the Dark" was shot anamorphic using the GH4 with the SLR Magic 1.33x Anamorphot adapter and Sigma 18-35. I hope you enjoy my horror films, and share yours as well!

Hi, Shooting with an Canon 5 MkII on Canon 50mm and Fisheye Lens. Would love to hear your thoughts...

Shall I rename this forum DVXrefugees? Personally, I wear my ban as a badge of honour.

but when the 1080p looks as good as 4k...

So a very talented and creative skateboarding filmer Fred Mortagne has already filmed the first clip using SL for Leica: https://www.youtube.com/watch?v=3-37VZ2dXCI

Take a little break and smile (or laugh). Sony A7Rii BOX unboxing. https://www.youtube.com/watch?v=29BiYaKkMDM

Correct. Some (or all?) sites have an exclusive option which you can leave unselected. The standard is non exclusive so you can do what you like with the footage.

+1 to that mate

OK, Put on my Flame suit :-) Actually I would LOVE the Sony to be the camera I keep, I just wish it didn't compromise so much in a few area's like FF 4K resolution and moreso the smearing of detail in FF. Because of this and the cost ratio of lenses to kit out the A7 series is why I am tossing up to keep the NX1 and or Keep the A7RII and invest in more FF glass....Again :-) Below are some samples, at 100% and then 200% from 4K still grabs. From Sony A7RII and NX1 all shot with the same Nikon 35mm 2.8 prime at F5.6, The order is A7RII S35....A7RII FF.......NX1. Before everyone replies yes I can see the NX1 is over sharpened, but it is also impossible to sharpen the Sony S35 to get the result the NX1 gives natively. So my conclusion is that the S35 on the A7RII is pretty good but probably needs some post sharpening, The A7RII FF is not so good, and the NX1 has lots of resolution and is oversharpened in camera. The last image is of the 5DMKIII internal codec versus Magic Lantern Raw showing how the detail in far greater in her T-Shirt, hat and skin (freckles) where the internal codec is destructive to such detail. This has been what I have found with the A7RII in FF, the softness I can see and accept to a point, but less so the smearing of texture and detail that is lost in open areas of detail (rather than edges) that results from this.

I believe that it is a recognition of your unique voice. My unbanned virtual self screams conformity.

Still could be 2 years at least till it goes from this to what we have. Obviously the money lies in the smartphones. Then small cameras, then film. So let's see. But this is exciting news. Also curious to see what it looks like side by side a real camera, not their "fake" iphone video-ish camera. My samsung galaxy s4 takes better video than that. And the iphone 6s takes much better video than that with more dynamic range. Or at least in my head it does.

We're now fancy at www.lens-yclopedia.com . Still the same thing until a good soul shows up with some web skills to adapt the information into an even prettier shape of a website.

Not exactly "horror" but recently we did a Halloween themed episode of our YouTube show called Boxmac: The Search for the Best Box of Mac and Cheese. We shot the cinematic parts using the GH4, vlog, and the Ninja Assassin. It's a parody of Crypt Keeper tales, so we were going for that TV horror feel complete with a 4:3 aspect ratio. http://www.youtube.com/watch?v=gEL4y6ZJdgs

masking tape over all of the open seams and over the glass. junior hacksaw the face of the ring with the text on it so you dont go all the way through, but you have a nice 'nearly through' slot. cut downwards onto the threaded part in line with the slot you already made. use a slot screwdriver in the slot and rotate the screwdriver so the ring splits. you might need to do this on both sides, or even three times. the glue wont be very strong, but if required, soften it with some nail varnish remover. you can also use the nail varnish remover to clean the glue off when the ring comes off

A7S II RAW stills, daylight: While not yet up to Canon for skin tones, the A7S II provides a really nice improvement in RAW color science from the A7S.

Alternatively, sell the 5D and use the money towards an A7RII and a Metabones adapter, to give you decent stills AF without Canon glass.

I have to say I find it hard to believe that an external recorder won't help because most of the image defects are just due to the high compression. Anyway once my video assist arrives I'll know for sure. Aaron I was recording at various ISO's up to 16,000.

Your Mac WILL struggle with the 4K footage. I love the A7s, I don't think I've ever been so happy with video footage, it was miles and miles better than the 5D. Keep the 5D for photos, like you said, purchase the A7s, see how it handles and use the extra cash for lights or a great rig.

Sony has been in broadcast， television and film industry for decades，much earlier than canon，even the only 4K broadcast solution is done by sony Did u see World Cup players had weird and unnatural skin tone on TV？ Sony may not having the best colour science，but fits the industry needs for long time already If canon really good does color，then why canon didn't beat sony and take over the broadcast industry ，even when 4K was not yet started？ I see criticizing the color is now the only imperfection of sony cameras，but a bit overrate canon Or does the pro world needs canon？ DSLRs has 40% mechanical components won't be used for shooting videos,including mirror ，OVF，phase AF Unit and light metering sensor Why still looking for a 4K DSLR for filmmaking only？

Wow am I sick of hearing this, until Samsung announces this it is just a unfounded rumor. Samsung is one of the biggest tech giants in the world which supposedly had great sales with the NX1. Why would they close up shop?

To clarify, did it work on "every" lens or the Canon lenses that you've listed? Second, are you sure that all 5-axis are engaged (yaw, pitch, roll, X, Y)? I think what causes confusion is the statement the stabilization system works for all lenses. That may be partially true, in the sense that 3 out of 5-axis may be engaged, but that doesn't mean that all 5 are. This site quotes Mark Weir as making some unclear comments about it : http://www.thephoblographer.com/2014/12/17/comparison-olympus-sonys-5-axis-stabilization-work/#.VicvKbwyeRs According to the site, entering the focal length into the camera provides pitch and yaw. Roll stabilization is always available - lens agnostic. Based on the process of elimination, it seems that X and Y stabilization needs focal distance - that's the information that can't be manually inputed into the lens. This isn't absolutely clear though. Second, it's not clear if focal distance is communicated electronically via adapters like metabones - whether at all, or more importantly, accurately. If it's being communicated but incorrectly because of the middleman adapter, then it'll be lost in translation. In the article above, they recommend turning image stabilization off in canon lenses. What complicates this further? These comments were made about the A7II, not A7S II. So it's uncertain how much those comments apply now. I think clarity on this issue makes a big difference... it can be a determining factor on what lenses to use for certain shots, and it can have a major impact on your cinematography.

I'm confused, was this supposed to be your example of good footage or bad footage?