Leaderboard

agreed. https://www.youtube.com/watch?v=pIzhGCzBtUQ Shot that with the vizelex nd throttle (it has a bit of a stylized grade) and honestly for most work I didn't find it to have any noticeable negative impact on my footage.

The Trump lens series is a perfect match for the F35, right down to the black and gold! I wanted to get a general idea of the look from the Trump series of lenses in a simple natural daylight setting without flaring. Realize there are a million variables, attributes, characteristics, mechanics, etc... The optical characteristics the Trump lenses are most famous for (wide open low contrast, flaring, custom bokeh) are not shown here. Camera settings: 1DC iso 400, roughly 180 degree shutter, standard profile, daylight wb, 4k 8bit 422 (log is my preference, but wanted to use a profile all Canon cameras have in common so it would be easier to see the lenses characteristics without a custom grade getting in the way) F35 cine ei mode, adjusted exposure slightly in Resolve, slog, sgamut, 180 degree shutter, daylight wb., 1920x1080 12bit 444 dpx, upscaled to uhd (for easier comparison to the 1dc files) keep in mind the scaling probably doesn't do the F35 any favors. Apertures: T3.1 very roughly for the Canon and Trump, T3.9 on the Cooke I used latest version of Adobe media encoder to export tiffs with best settings possible. I delogged the F35 footage in Resolve with Sony's F35 Aces input transform with an srgb output. Captured stills and exported as tiffs from Resolve 12. Below are low res jpegs. Srgb Tiffs to download here :https://drive.google.com/folderview?id=0B6dC48Sfvqr4c3k1aVh4UkhBS2M&usp=sharing

Probably going to be the Ursa Pocket or something. Maybe an ND adapter/module for Ursa. Whatever market gap exists now, Blackmagic are on it now - shipping in July. To be honest, it would be more respectful to not release any cameras and make the Ursa Mini 4.6k the best thing ever in cameras ever made ever.

Got to try the Sigma 18-35 yesterday, and I must say, what an amazing lens, incredibly sharp at 1.8, although a bit heavy and with a heavy focus/zoom ring, still an amazing lens. Not much was put into the grading, just something simple, to test the lens ! Also took a few pics, though I dont usually photograph, heres one..

BM Pocket with an optical AA filter?

Thanks - still, there were no boobies or 'splosions. Here's a poster I made, now someone write the damn script please?? Or I'll settle for a treatment for this one. And a cast list??

They are just trying to shift their stock ready for the next NAB announcements

I thought I'd make a sticky thread for sharing original camera files direct off the card. Always interesting for people to try the original files without having to look at someone else's grading and compression via Vimeo or YouTube! Let's get a bunch of stuff up here and make a little vault! We have so many cameras between us on these forums. 1D C, Red One, Cinema DNG, C300 II, FS7, we can really build up a nice collection. Here's my initial contribution: XAVC-L from the FS5 in 8bit 4K and 10bit 1080p - http://we.tl/yQO2ZM4HdA Comparison with Cinema DNG raw from the 5D Mark II / Magic Lantern - http://we.tl/HOACsCROeZ Got any Red ONE files Mattias? Also we need to find a better file host than WeTransfer as that only keeps hold of stuff for a couple of weeks and after that we'd have a bunch of dead links. But if you want to share WeTransfer links anyway, please do go ahead until we find a more permanent solution and I will keep a backup of all the files on my drive.

I think that the GM1 paired with the right lens does a pretty decent job:

When manually balancing for daylight sources like LEDs or Kinos - I always keep an 82A filter and balance through that (and then I put it away). Gives a nice warmth that doesn't look tungsten-ish. Tried balancing through 1/4 CTB, but I'd always lose my little scrap of gel; but I found an old 77mm from the film days and keep it with my 4x4's, doubt I'll ever use it as I only shoot B&W film. Am I the only one who does this? I find that in post, I'm always pushing some warmth into my skin tones, I do this for interviews every time now.

Lasted a week, then took 3 months for the camera to be delivered. Still the best £366 I ever spent though. Ha ha ha. Ha ha. Ha ha ha hahah ahah ah. Ha. It's only funny because it's true. [What's the emoticon for "Rocking gently in a dark corner in the foetal position"?]

Done! It's not very gear-porn-ish unfortunately!

Not related to the sale, but... I'm doing a huge research on many anamorphic lenses and had never seen that installation manual. Would you mind scanning it and posting here, or sending to my email (ferradans@gmail.com)? Thanks a lot, dude!

LX100 is anything but cinematic. It has bad colors and very digital look.

My team uses various cameras on the big GlideCam X10 vest. There are pros and cons to each, but we recently got a little DJI Osmo X3, which works very well, including 4K. I've seen some complaints about image quality but IMO it looks pretty good. After more evaluation we might get the m-4/3 X5, which is about $2,500 for the entire kit: http://store.dji.com/product/osmo?gclid=Cj0KEQiA_fy0BRCwiLaQ5-iFgpwBEiQA884sOWChvTEJP_NXFyi9eehMdcvgfrgVbR0hDlofzxnQlQEaArXK8P8HAQ Here is some material from the X5 (not mine, I just found it): https://www.youtube.com/watch?v=FVV9sjmJxmg Low-light test shot with DJI Osmo X5: https://www.youtube.com/watch?v=Ot7RjZpoR0M

LX100 has an MFT sized sensor BTW. An EOS-M would match with your T3i perfectly and with adapter they could share lenses. Less than $200 on eBay (IDK how much adapters are).

I've used the Panasonic GH3 fairly extensively for Steadycam work. The 1080p/50fps looks fine. To be honest I never noticed any moiré or aliasing. I usually use it with a Tokina 11-16mm f/2.8 stopped down to f/4. The only things that really do bother me are the dynamic range (or lack thereof) and the colors. In fact I've used the Nikon D750 as my A-Cam for almost a year now and when shooting with both the GH3 and the D750, I find myself hating the GH3 image more and more. The colors look wrong and it's very difficult to match them. I love the D750 but it's not going to be as sharp or detailed as the GH3. You mention that the D750 doesn't have a very high internal bitrate or internal focus peaking. Both don't really matter when shooting steadycam stuff. The image grades extremely well, way better than it should anyway. And you're not going to need internal focus peaking if you're shooting at <24mm - unless you're doing super high end stuff, and in that case you're not going to rely on the internal focus peaking anyway.

because I have 3 f35s total. Also I just bought a sony f65. Much more expensive and a different kind of beast. It is quite a beautiful camera. The motion and color are absolutely beautiful. But I am also tired of owning so much gear. I'm spending more time on gear and gear purchasing than actually learning how to light and compose. I think it is the lowest strength - 1. I think shipping to NZ is probably fairly afforable since it doesn't weigh much. NX1 is sale pening. Classic soft - is one of their classic filters. Really beautiful.

If you're just looking for a super cheap overlooked option which still gives you aolid 1080 then simply get a secondhand Panasonic GH1 for US $150 or less. Will crush your existing Canon too ;-)

I once white balanced to an orange bottle of hand cleaner in an industrial shoot to get a really deep green-blue. It would have been way too far a push in post for an 8-bit file. I've always thought it would be handy to have a little book of painted cards in warm and cool tones; since WB is a combo of tint and temp, you could get some more variants beyond just color temp. (Though I like how the NX1 lets you adjust both matrixes independently and manually).

Not scientific, but will give you a good idea of what gels a light may need - you need a camera that shoots raw stills. Shoot a gray card under the light - optimally a grayscale, if not, a professional black/grey/white card. Stick a human in there with it if you like. Open the raw file in photoshop/etc - eyedropper the gray and look at the RGB readout; r, g and b will optimally be the same number. (IE, R144 G144 B144). In reality, within 3-5 digits or so. If they're off, play with the color temp (orange/blue) and tint (magenta/green silders) and see if you can get the numbers close. When you get them close with the sliders - within a couple points - look at how far you've pushed things. If you've moved the tint into magenta territory, re shoot with, say, 1/8 minus green and try again. You want to find a gel combo that gets the grays neutral as possible. At every step, check the whites and the blacks as well. Shooting raw is best here, because you won't have the light's real color messed with by camera profiles.

just received a Trump38/58/88 set from Richard Gale at Dog Schidt Optiks. Let's me mimic an anamorphic look, along with a bunch of other fun stuff. Great combo.

I love it. I've rigged it out to be just heavy enough to avoid micro-jitters. And I loving how skin tones are rendered. I struggled to get the GH4 someplace it didn't want to go for six months. Should have traded resolution for color and DR a long time ago. I'm much happier.

Your methods sometimes seem like taking a military obstacle course to work rather than taking the bus. You do know that taking the bus gets you there faster, right? And keeps you dry when it rains, or warm when it's cold... etc. I mean, that you want to tinker around with your 6 years old T2i is all well... but to me it seems like a lot of wasted money and energy. And although you claim it to be, it will never reach Alexa-like picture quality. Do you have any actual experience shooting other cameras? If you did, you might realize what you're missing out on. Especially rolling these cameras out in the field. Don't understand why you haven't just gotten yourself a BMPCC already. Or a G6... G7... anything, really. I think in a few years you look back and say 'I was so stubborn, haha, I guess I was just looking for a challenge but ended up limiting myself'. But hey, we all got to make our choices, see how they pan out and learn from them. Though, if I stuck to shooting stills with my 2MP Kodak, I would really be seriously missing out by now and be outclassed by any camera, smartphone and webcam. We're in a digital era. You can't really allow yourself to fall behind. And technologic advancements are not here to hurt us, they're here to make our lives that much easier. I'd embrace it, not fight it. That would for sure leave you with more time and energy for other things... people want to create, be creative... sounds like those people could spend their time and energy more wisely than trying to find cumbersome solutions to problems that could be handled with more effectively. My 2 cts.

Noam also said the Canon battery lasted the entire afternoon. That's great news as well for an improvement on the short BMPCC battery life.

Man. To me, this was the most Kubrick film since Kubrick. Not as far as lighting or shot design, but a film where subtext and symbolism seemed far more important than the story - almost at if the story was an afterthought, a face to stick over a very different skeleton. I spent most of the movie marveling that europeans were able to eventually conquer north America, and found the juxtaposition of nature vs. human nature to be the real story; from nature itself and its power (storms, rivers, bears), to the native people who seem one step removed from nature and can be as viscous as nature, to the trappers who are almost proto-humans by today's standards, up to the guy at the fort trying to enforce notions of honor and law when surrounded by people reduced to a near-animal status. And how this played out against human desires - the trapper and the chief both on journeys based on the breaking of familial bonds (recall a bear and her cubs put the story in motion), how tenuous the more evolved ideas of morality and character become in the face of greed, vengeance, and self-preservation, the size of the stakes (from starvation to freezing to a pretty awful death at the hands of the natives) and how different people respond to those fears. I don't go into movies seeking this stuff (I usually just wanna see shit get blowed up, and some boobies) but was very surprised that those thoughts kept me more rapt than the plot. Not trying to sound all intellectual and I don't have the vocabulary to express some of this - but in novels and films "tone" and language, rhythm, symbolism - they hold my attention much more than plot does. For me, one of the absolutely best films I've seen in years. (But as you can tell, I'm weird).

Been to busy filming this past week, heres a few shots, this will probably be not the final grade, but its getting there.

I was literally gripping my seat throughout much of this film. Two things are known to me. I loved this movie and we have become total pussies since 1820.

Lowering contrast breaks the colors. Leave contrast at 0 and you will be much happier with the camera. I too tried contrast -10 when I got the camera and the results were unusable.

Now this looks interesting...