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If you dont get it you dont get it. Some play soccer. I think it sucks. Thats becaude I dont get it. So I let it go. At the store I might buy stuff to make Pizza. The guy next to me buys frozen pizza. None of us get it. So we let it go. But I dont stand there questioning him, try to lecture him or call him names. I let the man eat his pizza and let it go. I will pre-order that thing asap. A roll of of s8 costs $15 from shoot to export from the NLE. Cheaper than going to the movies and ten times more fun imo.

I actually think it's genius what Kodak is doing. They're self aware of their legacy. Instead of competing for an overcrowded digital sensor market, they start with entry level film in hopes to spark a new generation of film users. I could see them rolling out this service to 16mm and 35mm in the future.

I started shooting polaroids about 2 years ago. 3200iso b+w and 100iso colour from fuji. it costs about £1.50 per shot, and within a year the entire supply of film will be exhausted. . only 3 out of ten pics are viable to be scanned and shared. Even then the images get next to no likes on flickr. technically they're weak. however each image I take on polaroid feels like a real photo. a physical entity. I've done a few birthday/wedding jobs where they budget £5 per photo. They are willing to pay this because the pictures are so much more magical. technically they're awful but on a human level they are magic. The effort I went to making a camera that obtains the best from polaroids is pretty mad looking back on it - when you consider how technically limited the format is. But from the private messages I get asking for a parts list to make the camera below, it's clear film is still important enough for kodak to develop this new 8mm camera.

not just the nx1 sensor obviously used the 28-70 2.8 on my a7s and it was beautiful. anyways this thread has been enlightening. i'm in the process of finding where i like the settings and recently did a test with 2 very contrasty scenes (interior and exterior) and I'm blown away with the shadow detail that this camera retains... it keeps it much cleaner than on the a7s (which is why we'd always ettr). don't judge me too much! these were scenes designed to push the video capabilities in post, and see what kind of image I could recover, not necessarily to be beautiful. here are a few screen grabs: settings are as follow: gamma dr. sharpness -10, contrast -10, sat -4, black level +10 internally, this might be a bit aggressive. there is some banding on the walls of the interior shots (which were heavily underexposed btw), but i'll test it again with the shogun on saturday and see if the extra 422 helps with that. the lenses were second gen sony cinealtas... and are almost too sharp with how much this camera sharpens. i should add to try and mitigate some of that i shot through 1/4 HWBMF

I'll answer each of your points as best i can 1. creative people who want the cheapest access to celluloid for motion picture. The same type of people who still shoot film (1000000% more expensive than digital), listen to vinyl records (which are 1000% more expensive than itunes and 1000000% more expensive than piracy), and those who drive classic cars instead of modern cars (they break down more often and are less fuel efficient, yet they still do it. it's called going against the grain. enthusiasm. passion. nostagia 2. not always. 8mm film shot, developed and scanned well will outperform full hd digital. if the 8mm format took off the costs will likely be massively cheaper than 16mm or 35mm due to demand driving prices down. the 8mm film stock has the same colour and highlight rolloff as the film stock used for interstellar, hateful 8, and the master. if you only need fullhd then 8mm carefully handled will deliver. 3. it may be too pricey for some, but not everyone. those who might make the choice to invest in stuff for their art endeavours rather than waste money on big tv's, junkfood and consuming stuff they don;t need tend to spend their money on stuff like this. 4. patience is a virtue. you may not be patient enough to wait for development. I get impatient too. but as above - there are people who are patient and they benefit! 5. maybe. I like to think when I'm 50 I'll have the budget to invest in stuff like this for my own enjoyment, capturing family, grandchildren, life, etc. But I know plenty of commercial film makers who will be investing in this little camera for commercial work. The value in doing so is heightened by the fact that there are those with your opinions who aren't willing to go to the effort or invest in the action of trying something against the grain.

I say even bigger THANK YOU! for your last post. Problem is many people just don't understand film. It is like telling video is digital film (my CDs are not digital records). And I would really like to know what you did with you Canon 814? That looks very intresting. I second that. It would definately help the thousands and thousands of videomakers to improve and teach them a lot: Less can be more - especially when you have to look more for quality and make sure to get the shot done. A very important aspect in filmaking.

Thank you.

On the topic of Canon color… This is beautiful. Shot with the 5D3. Also professionally graded, I believe NR was applied. The canon greens are so nice, the skin tones in a practically lit interview looks so nice as well. A sony FS7 etc would take forever to get close to this. Going out and shooting test footage, the c100mkii probably won't wow you, but when you're paid to shoot all day and get coverage, the camera is just amazing to work with. Those two pieces linked above look amazing. The highlight handling on the canon is so great.

This is interesting to see, Amazon has raised the prices considerably since the holidays. I bought nx1/16-50S for $1950 from Amazon in mid December, and now the same package is $2800.

Can't wait for the first non-reusable SD cards

Shot on super 8 and seriously beautiful. Slow motion, highlight roll off, color. It's all there folks.

Hi everyone, I have a site up with free music that you can use in your videos. It's all original...all my own work. All I ask is to be credited as indicated on my homepage: http://soundimage.org/ I sincerely hope my tracks are helpful. Any and all feedback is welcome and always appreciated. All the best, Eric

Warmer white balance and some soft lighting is probably a good place to start. What kind of conditions are you shooting in?

You can also use davinci resolve or adobe speedgrade (and probably some other software that I don't know about) and pick out the particular hues of skin in footage and adjust them to your desire

Emulation can be a good thing when one is learning. I've created this color cast many times. But I'm willing to wager that this era in Hollywood film making is going to be chastised as the time when colorists hooked onto this teal/orange nonsense --and it is going to look ridiculous and very dated to "future" eyeballs. You know how when you watch an 80's movie and you pick up the visual cues that let you know it's an 80's movie? The 'aughts and 21st century teens are going to have a very obvious aesthetic too. If you want something you create to be more timeless, I'd suggest looking at films of the 70's as a guidance; much more basic back then. Essentially, I'm saying don't think you gotta do this just because it's what you're seeing most of the time.

Honestly I think it is to do with people's actual skin tones. Most people here are very pale, especially during the winter. I mean especially compared to Clooney who has a year round tan.

The images are great! What lens are you using?

I think it looks pretty good! Last caps have too reddish skintones for my taste - other than that, the woods look spectacular!

Similar set up using the cinelook plug in. Sorry if I'm boring people, just trying to nail down a "look" for an upcoming short film.

For the UK, you can add filters in your lights to have a diffuse, gold orange look (see https://youtu.be/7l6FjphZXsk?t=288 ). You can also use the same filter indoors For Interstellar, this is good color correction plus a little bit of subtle make-up.

No joke or typo. Developing isnt hard or expensive. If its Color negative, reversal or B&W doesnt matter. Easy peasy. Scanning is trickier for negative. Reversal can be done with a DIY solution and a digital camera, very cheap. But if this is something you really want to do, a s8 automatic frame by frame scanner is $1000.

Agreed with Jimbo and Casey. Just get maybe a 17-55 for Canon to use with AF when necessary. The other times Nikon will work great on the C100. I still use my Nikon primes when I'm on a tripod or have a chance to pull focus.

Aside mad scientists (ala Rich) or fanboys (ala Mattias), the history of Kodak will be studied as how to go from heaven to hell with bad business choices. We complain about Canon, Nikon and Samsung, but Kodak is the worsest!!!!!!! ;-DD BTW, well shot Super 8 is great, it's just the cost and workflow that doesn't make sense for most videomakers in 2016.

BTW: To slow down the 5dIIraw euphoria a bit… Moiré and Aliasing is unfortunately as bad as we know it from 5d-h264. The VAF Anti Aliasing Filter comes with the limitations that Andrew pointed out (a bit less overall sharpness, less sharp on the edges with wide angle lenses, focus point changes during zooming…anyway I would recommend it!). Independently of this, the max. resolution with my 5d2raw setting is:1872x850 (aspect ratio 1:2,20). So you have to upscale it to HD. If you want to shoot in 16:9, the horizontal resolution is reduced even more. Nevertheless I love the image quality, for several years.

Hi Lintelfilm, Ah choices, choices! I'm in a similar position to you. I use GH4s for my business with a mixture of native and Nikon lenses. I love the cameras but after 4 years of DSLRs I desire a camera built for video from the ground up. My main gripe with the GH4 is I get nervous if I have to go above ISO 1600, I know that I am then degrading my image beyond what I want for my brand. Fast lenses only get you so far. Differently to you I film mostly events (80% weddings) so between these cameras it would be a no brainer for me to go for the C100 Mark 2. It's the complete package and I can just tell the ergonomics and workflow would save me time, and as we know time is money. However, I think it would be ideal for your work too, and the image is cinematic enough if you have a narrative up your sleeve. Looks like there has already been a price drop in the US for the Mark 2 and I'm excited to see if it drops any further after NAB and that extends to the UK. That's when I'll make my decision. My only concern is this would be a 3-4 year investment for me and 4K is coming whether we like it or not. I wouldn't want to miss a single job because I didn't have 4K, especially as I start taking on more commercial work. Completely agree with Casey regarding lenses, definitely don't ditch your Nikons (they're beautiful for all the reasons he mentioned and can be adapted to almost anything), just start with a single workhorse lens for your new camera and take it from there. Would love to know what you decide and why!

my only advice: don't overhaul your lens kit if you don't have to. I'm not sure what nikon lenses you have, but in my experience they are beautiful, and imperfect in a way that can add an organic feel to an otherwise sterile digital image. just get an ef adapter! (of course that won't help you with image stabilizing...)

My experience with master ped over the years is: it's not more light. It's not like upping your shadow fill ratios. But - with some compression schemes and some camera-tweaked looks/profiles… it can help to lift it a touch. It can be handy to bring two different camera a little closer look-wise on set. IN MODERATION... You just really, really have to run tests. If there's time on set, run a take and slate it with the new master ped setting so you can see it on a real-world clip. It's really the kind of thing that's too weird and specific to expect a useful forum answer. You have to see it on your gear with your style.

there's not much more to say than: Oh FFS, nikon.

SO soft......

Yes, please tell me... Something wasn't mentioned here. All this is about film! Keep in mind that there is no(!) fresh color reversal film available right now - for no format at all. And this new development of Kodak/Logmar could hopefully result in the new production of fresh color reversal film (we are still waiting for Ferrania...) And keep in mind: The magic bergins with the projection

Maybe I'm unique, but my must-haves were pretty simple for an affordable DSLR. I would have spent up to $2-$3k for: APS-C/Super 35 sensor;At least 2k, pref. 4k (reframing for low-budget, 1 camera shoots and being able to pull great keys are huge for me);Ability to take a wide range of glass;Image with decent enough DR to be able to "light for the sensor" - I don't need 14 stops, I can light for 10.Audio meters, manual audio control, some sort of usable 1080 slowmo.I really wanted to love something from Black Magic, but those sensors meant Speedbooster, and the 2k cinema camera meant speedbooster and SDI monitoring. I really need at least 60p@ 1080, too. And freaking interchangeable batteries that last 45 minutes or so. The NX1 really hit the sweet spots for me, and then some. I don't take a loupe to shoots anymore for chrissakes. Technically, the image is superior to the Nikons I've been shooting for client work. Aesthetically - my D7100 is still "prettier" in some ways, and it's got nothing on BMC at their best. OK, find some tech guy to contact Samsung, license their tech, and create a reasonably priced cinema camera for pro, semi pro, corporate and enthusiast market. Give it Prores 422 to the card or an SSD, boost the DR and gives us some output options for raw or bit depth. There is a market - assuming it's Nikon or Canon's market is the big mistake forum posters here and otherwise make. I live in Dallas, which has a lot of well-employed people. Not just the rich, but those with expendable income. I'm really used to seeing the soccer-mom, the hipster dude, the dorky dad, the "I'm a big fan of live music" 20-something, all rocking nice cameras at shows or outdoor events. Look close and they have the mid-level zooms (not the 2.8 stuff but not the kit - fairly chunky F4 stuff in the $800 range). And the strap. For this market, the strap is of vital importance and equal to the physical size of the lens. It absolutely must say Nikon or Canon. I don't recall ever seeing a Sony or Panny strap on those shoulders. Can't tell you how many times I've chatted with such a camera owner - "Oh, I have that body" and you find they're shooting it 100% program/auto. They're getting the exact shots they'd get with a little mirrorless rig. But man, they look so legit! This, and semi-pros concerned with lens ecosystem is likely what did Samsung in. I've yet to take a single still with the NX1, but on my third paying gig with it. I'm a drop in the bucket market-wise though.

but if you can't reuse your film it'll mean you make damn sure what you shoot is worthwhile.

I'd agree if you want a hybrid system like discussed in the other thread but if you want to use the body for video with adapted glass (or are cool with shooting stills with manual focus), I think the NX1 is a great thing. After all the BMPCC is really popular and that is even less "system" for 990€.

Got a plug in from color grading central called "cinelook w' gorilla grain" so I was messing around with it a little today. It's a neat little plug in with sliders similar to some of the basic red giant plug ins, but it makes my computer run slow while it is rendering. Has anybody else used this product? Also, what settings are people using with the G7? This was another cinelikeD with Contrast at 0, Sharpness at -5, Noise Reduction at -5, and Saturation at -2.

Panasonic AF100 from Oct 2011 - Shot near OSU Campus, Columbus Ohio. Forget the lens; perhaps the 20mm F/1.7. https://drive.google.com/file/d/0B3W9u9cu-URWS2plWl9PbGpsODg/view?usp=sharing Here's another 5d3 raw clip with the 300 2.8 IS. I had no ND or drop in filters, and as such the shutter is far too high. But look at those colors! https://drive.google.com/file/d/0B3W9u9cu-URWZWlLbEFZSE1QZG8/view?usp=sharing Sony FS700 240FPS - I adjusted the WB in post as this was a rental back in 2014 and I was testing it... https://drive.google.com/file/d/0B3W9u9cu-URWRkxrYXFFZDFZZUk/view?usp=sharing

If you debayer in BMDFilm color space using BMDFilm gamma you should be able to match ProRes/Film colors. These settings are in the Camera Raw tab on the Color page. Resolve's manual is actually pretty good and informative. It is a good idea to have a look at the relevant sections.

I save everything, so I should have some contributions here. First up, Canon 1DC 4k https://drive.google.com/file/d/0B3W9u9cu-URWUE1oamQwekRwWGs/view?usp=sharing F/5.6, 70-200 II @ 175mm, Portrait profile 0,-2,-1,+2 WB: 5200 (If you have the camera settings and lenses let's include those too) Up next, the amazing and stunning Canon 5d3 RAW - Shot at F/1.6 I believe with the 85 1.2 L II + a ton of ND. Might be the best looking footage I've ever shot from a pure aesthetic point of view. Sorry I no longer have the DNG files, but this was brought into Adobe After Effects and I only adjusted the ACR sliders. That's it. No "looks" or anything like that. From Sept 2014: https://drive.google.com/file/d/0B3W9u9cu-URWcGlZdGRyYUxHRDg/view?usp=sharing Tough to argue that anything looks better color wise for the money.

If you want to shoot stills and video with one camera then a hybrid sounds like the best tool for the job to me!!

If you haven't already tried the technique in this link with your F35 footage Ed you really should give it a shot, along with the color chart method it gives the best neutral grade for the F35 of any method I have tried. The normal color chart method is good to but I have found it adds too much contrast to the highlights at least in my opinion. It is very easy the only real downside is since it is ACES most luts will not work correctly but Filmconvert seems to be fine. http://www.filmscientist.com/blog/2015/01/29/film-scientist-aces-workflow-revisited/ In the project settings switch it from YRGB to Davinci Aces. In the color manangement tab select either Rec709 or RGB for the ODT depending on what monitor you use. On the footage in the media pool assign the lut from the link above. If you want to use the color chart correction make sure the input gamma is linear, target gamma is linear and target colorspace is ACES and that is it. For the first time with any version of Slog I feel like I am getting a truely neutral starting point.

I use (2) Samsung NX1's mostly in 1080P mode, either at 24FPS or 120FPS. If I shoot in "DR" Mode on the NX1 and then transcode the footage to Pro Res using Rocky Mountain Transcoder the resulting files look very similar to the Canon C100 Mark II in "Wide DR Mode", however the Samsung NX1 files are much sharper than the C100 Mark II. Cameras such as the Sony A7S Mark II have great dynamic range and amazing low light abilities, but at the expense of color - even after color correction A7S MK II files are rather dull color wise. If I shoot with the Samsung NX1 in low light, I'll use one of the Sigma ART lenses wide open at F/1.4 (and never set the NX1 above ISO 1,600) -- the resulting files look amazing with no noise and unbelievably great color fidelity - colors pop the way a Red Scarlett does. I wish someone would have made an active EF mount for the NX1 because other than the tiny Samsung 30mm prime I don't use any Samsung lenses. That's Samsung's weakest link - even they're expensive 16-50mm F/2-2.8 zoom at F/2.8 is not nearly as sharp as my Canon EF-S 17-55mm F/2.8 IS Lens and the Samsung 16-50mm is useless for zooming while shooting video because even if the lens is set to manual focus it does crazy things when you zoom - goes in/out of focus in horrendous ways that make the footage unusable. I shoot a lot of 120FPS/1080P slow motion footage on the NX1 and it looks very good. The attached images are still frames from video - Canon C100 Mark II vs Samsung NX1 both shot at 24fps/1080p. I used the Zeiss 50mm Makro-Planar F/2 ZF Lens at F8 on both cameras and made sure to focus the C100 Mark II accurately using the punch in feature. Both cameras have a 1.5X crop factor, but I noticed that the C100 Mark II produces a slightly wider image. The Canon C100 Mark II was set to "Wide DR" mode at its native ISO of 850 and a shutter speed of 1/48th while the Samsung NX1 was in its "DR" mode at ISO 800 and 1/50th shutter speed so we should expect a 10% brighter image from the Canon because of these unequal settings. The Samsung video was transcoded to Pro Res using Rocky Mountain Transcoder. I'll also include a frame grab from the Canon 70D just for fun.

The developer of RMMC is planning on releasing a new version of his much acclaimed H.265 converter tonight. This new version will now have the option for an input LUT. http://***URL removed***/forums/post/57045260 This will improve my workflow significantly. J I can't wait to try it out with the gammaDR2Log Lut

Developing at home i easier than making mac n cheese and costs a fraction. Besides, imo, you dont shoot s8 as an alternative. Its its own thing. Btw, I shot some s35 s8 the other week

Did an interview today, basic settings most people discuss here. Nikkor 28-70 2.8 at 70-ish/2.8 (room was too tight for my fave people lens, the 85 1.8 - or to get much separation from the BG). Haven't started an edit yet, but amped the DR flatness back up in Photoshop here. Very nice camera to use for these sorts of gigs, and though i recorded audio with an external, the line-out fed into the Samsung sounds fine, so no synching needed. I do think an attenuating cable will be in my bag next, the Samsung's pre's are pretty hot. I really like Nikkors and such on this sensor - from wide open to F4/5.6 or so, they really sand off the hard edges nicely. Waiting for my FL adapter - I have some 1960's Canon glass to test… I may get a full set together if I like 'em. I do miss that Nikon sensor sort of "coolness" to the shadows… may play with that in post. Really had a lovely 3D-ish look sometimes.

Wow, OK. Good to know. Thanks. Maybe I'll wait (and save up) for the Mark III. What I wish I'd done from the start is bought Canon Speed Boosters, then I could be buying Nikon (using EF-NF adapter) and investing in Canon lenses. As it is I'm stuck with MFT zooms if I want IS. As great as the 12-35mm 2.8 is, it makes the GH4 even less usable in low light. Perhaps the GH5 will have IBIS and improved low light ability. I can only dream ... Or maybe my business will take off this year and I'll just buy every video camera I can find!

We have a GH4 and C300 II- the C300 II color, especially skintones is excellent (I did tweak it- not using the out-of-the-box settings). The AF is very, very useful (including assisted MF). The C100 II is a major upgrade from the GH4 in terms of color, AF, low light performance, and pro audio (XLR). A useful test is to show talent/clients multiple cameras and not tell them which is which. Canon cameras are chosen more often than not (if we had an ARRI camera, would be interesting to see how it does against Canon).

With the holidays over, I have had a little time to run some tests. Am still using cinelikeD. This shot was done wide open with a Tokina lens and a fotodiox vizelex adapter. With Color Finale I applied a light s-curve to the master and then tweaked the blue and red curves a touch. And then finished it with an Impulz Tetrachrome LUT.