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Hello all, I'm a filmmaker based out of Wisconsin. I recently purchased the EOS to Log LUT pack with the GH4 guide and I'm seriously loving the results so far! I also just recently picked up a Panasonic G7 for a B cam. As I was trying to plug in the settings recommend for the Log converter I noticed the G7 doesn't include a master pedestal option in the menu. So, I was curious if anyone had any suggestions on a possible workaround for this so that I can ideally matchup the two cameras flawlessly. Any assistance would be much appreciated! I've also included some still frames of some stuff I shot using the Log converter for fun!

Hacks are so 2012. In 2016 we have an onslaught of stills cameras capable of surpassing the needs of all but the highest end film makers. Based on Andrews recent article I'd expect the 1080p iq from the new xpro2 to be no exception.

I think working 8;30-6.00 + travelling an hour each way to get to the same office job day in-day out, then drinking and snorting cocaine to forget their boring life (or worse, having to fulfil the needs of a partner who does the same, - on your two days off going to the super market, clothes shopping, does more damage to the body and soul than a lifetime of sporadic long days on set. Not that I've had much experience on set but from my handful of situations where I've been involved in film making on a production basis I hated with a passion the art of collaborating with hopeless wannabe film makers. I expect I;d have enjoyed working as a runner on a Kubrick movie since there was method to the madness, but when you see just how dumb, jumped up and backstabbing most of the people involved at the lower end of the spectrum are, it is draining. Noisy and self important 'creative director' females unable and unwilling to carry gear are the biggest drain on the creative process when working on crap jobs. The main problem with film makers is that they all seem to smoke and drink lots of coffee. This ain't gonna help their already confused sleep patterns and stress. I think if I ever direct my own film I'll ban coffee and cigarettes from set and instead make people drink lemon water. Everyone would be a lot fresher and positive 5 days into a crap job.

http://www.canonwatch.com/canon-eos-1d-x-mark-ii-specification-leaked-cw5/ the rumors seems to be pretty certain by now. Seems like a beast for video. Also since the 1dx is getting 4k 60fps it would make sense for canon to get the 5d mark iii 4k 30fps.

Thank you. It's quite apt that you mention this, as we are currently looking at bringing another person in. It's the first time we've been challenged by general health matters, and as the company are pretty much a main two, if one of us croaks then that's 50% of the operation down. Both of us? The ship doesn't sail. Music video production is exceptionally battering these days. The cost has gone down and the expectations have gone up. So to meet budget, you have to come up with some wild (yet creative) solutions just to meet budget. As our development has also crossed into commercial work, the work is far less physically demanding but the process can be mentally rigorous. My daily tasks involve shooting, lighting, full editing, grading and media management, gear prep, gear maintenance and repairs, treatment and pitch writing, shot lists, visual research, sales and quotes, client admin and management, web design, social networking, driving, purchasing, location scouting, financial admin, meetings and other random bollocks. I can just about handle it. One of the best pieces of advice I ever received was "you are only as good as the people around you". Previous to that advice, I had to carry a lot of productions literally single handed as others were either not pulling their weight or were undermining the project. Not all, but plenty. Since, the team I have around me are very positive, supportive people who look after each other immensely. It's a big deal.

I've been following you for a few years kidzrevil. Big fan of your work. I've noticed you've been through a couple different cameras recently. What's up?

What made you lean more toward the 5D in the first place? What type of stuff do you shoot? What's your working style? Do you need the option of fast turnaround? How much are you willing to invest in SD/CF/HD space? Do you have a pre-existing lens collection, or are you starting from scratch? Is low size/weight important to you? Do you have experience with color correction? Are you interested in buying more than one for multi-cam shoots? Do you usually nail your exposure, or need more latitude to fix it in grading? Which camera's footage appeals to you more? Is a camera crash once in a while okay, or do you need 100% reliability?

Yes, but dependence on cigarettes to chill you out and coffee to wake you up is certainly changing the way your mind works. the amount of time wasted on smoking breaks is out of this world. the amount of damage to sleep patterns because of dependence on coffee is devastating to our ability to think and act cohesively. I say this being a 100% caffine junkie. when i'm on coffee I need it to function. when off it i work 1000% more efficiently and feel less stressed

Come on, obviously not. I've just personally had more instances where clueless ladies have been the brunt of the problem - getting more stressed, uptight, flapping around etc. it's the stress, not the hard work that tires me out.

Digicame only releases details a few days before announcement and has a very good track record of reliability. They just posted some additional details. I wonder what time limits these have. Video 4K 60fps. Full HD120fps, 4K video can be recorded in internal CFast2.0 media

I think ti comes down to the fact that the C100 was awwwwwful on spec sheets (even the C100 II sounds really meh) while the Ursa Mini sounds like a miracle of high tech engineering. But then in actually using the cameras, the C100 just works and with the Ursa Mini you have to put in more work / expertise / care. The Ursa Mini seems totaly "run & gun" but everyone who read up about the BMPC4k knows that it's not flexible. It'll deliver amazing results but you have to stay strictly within the boundaries of where it works. Actual product manufacturing quality is hard to judge, on the internet it's usually the unhappy people complaining because most people who are satisfied don't feel the need to yell it out into the world. But completely hypothetically, I can see how a smaller company like BMD who goes for probably rather close calculated prices has not the same QC capabilities as a huge player. As I said, this is theoretically speaking, but in the past there was quite a few oopsies with the BMD cameras when they came out that were then later fixed (or not).

You should do all of that. Just don't call it a smear campaign. You're telling the truth, it's not a smear. https://en.wikipedia.org/wiki/Smear_campaign

Work directly with H265 if you can, saves space and better to edit with the native files.

If you take a ballhead you can swivel it wherever you want, depending on where the monitor has mounting points. The SmallHD 500 series has that "sidefinder" attachment. It's kinda pricey at 300$ for basically a right angle loupe but then you have a EVF in addition to the FullHD 5" screen. I'll probably try to score a used one on eBay or ze interwebs. I think a problem with the Micro is that the cheapo monitors are so-so, the EVF are basically all quite pricey and there's more good 7" monitor/recorder than 5" (which I would then already consider too big) and you don't actually need external recording because it's probably going to be absolutely identical to the internal recording with BMD. I'd clearly get the BMMCC over the BMPCC because of the better battery solution (granted you can have a LP-E6 solution with the BMPCC but then you automatically need a bigger rig), 60fps and the global shutter.

I have tried every single email address that your company has provided. I have posted on Facebook many, many times and I have emailed the addresses provided via the Facebook interactions. NOTHING. I am beginning to lose my patience. Ball is in your court. You can either send me a working replacement, refund or I make it my mission to lead a very public smear campaign against FilmPower. I prefer a working replacement. I really do. But you guys are bringing this on yourself.

These rumour sites were saying the same thing for the Nikon D5. I would consider it BS, then it will be a great bonus if it turns out to be true.

Thanks for the info, Bold. I think I'll go for the Kiron super-zoom and see what the quality is like. It's a pity that the Vivitar has a rotating front element. It really looked like the perfect lens! It's parafocal too apparently.

With a SmallHD monitor with Sidefinder mounted to the side of a BMMCC, you could end up with a form factor similar to a Director's Viewfinder perhaps?

There's no 'C' in the name. So be prepared for disappointment! Fingers crossed though! That would be one mean hybrid cam if it were to be any good. May also leaving you paying a lot for stills features you'll hardly use though. So Indeed, a proper 5DmkIII successor with 4K... that would be something! But remember... I referred to Sony the other day as possibly 'pulling a Canon' should they not give the A6100 the much desired features we've recently seen in cameras such as the RX10M2, RX100M4, A7RII and A7SII... 'you're serious about video? Pay serious for serious video'. I feel like that's a thing over at Canon. 4K video on the 1DXII might be focused towards some kind of 4K Photo Mode. Possibly without including 24p and things like C-Log, since it's a camera focused on serious stills, not serious video. - Could have recording times of max. 3 minutes and shoot cropped by 'pulling a Nikon' too of course...

Hey, a fellow Wisconsinite! Greetings from Milwaukee! My understanding is that on full range 0-255 footage, pushing up the master pedestal simply takes the data at 0 and shoves it up to 15. Theoretically, you could just push up your blacks in post and achieve the same thing. But I tend not to mess with the master pedestal, so take that with a grain of salt. ( Great frames, btw! You're really making that grey winter light work for you.)

This would be a good option as well for a cage. http://www.ebay.com/itm/DSLR-Video-Camera-Cage-Stabilizer-Rig-with-Wooden-Handle-for-Canon-Nikon-Sony-/272086620613?hash=item3f59a059c5:g:8IkAAOSwYaFWfPrX

Smallish sensor look (of wide-angle lens stopped down a lot) and a lot of greens (if not colorgraded too much like this on purpose) Verdict: GH2 / G6

Am not sure if it was the camera, the vision color or your grading, but one of the naval videos looks like an old, technicolor movie. A look I personally love. I am really interested in seeing what the gh5 has in store and I may just wait until they announce that before I make a decision. When I first used the G7, it instantaneously felt like I was using a basic cinema camera. So, I can imagine the gh4 or gh5 would be that much better. I think Panasonic would be really smart to introduce Raw video with the gh5. I've always seen Sony and Panasonic as natural competitors and I think Raw would be such a brilliant way to distinguish them self. Hell, they could literally keep all of the same features as the gh4 and add 1080p or 2K Raw with ibis and the 16mp sensor for better lowlight and I'd be a buyer. Hell, I would probably sell almost every lens I have to get those features. They could even crop the Raw to S16, nearly eliminating any aliasing and I'd still be ecstatic.

You only need FS700 and 7Q with license, no need for HXR http://www.sawmillcreative.ca/gear/experience-working-odyssey-7q-things-loved-things-learned/

My R1 has windowed modes for slowmo. IMO its all good. Im not experiencing any "issue" with it. And also, its a crop, so no line skipping or slowmo-aliasing like previous cameras Ive owned. My point I guess is, don't let it ruin an otherwise "perfect" camera (if thats your only beef that is).

Yeah, on the one hand Nikon brings out special D750 & D810 Filmmaker's kits... ... one the other hand... they'll leave you wondering why with those kind of statements they aren't really pushing their video all that much.

The mount in combination with the crop is what I find troubling. If I'm spending 10,000+ to rig a RED camera I better have the ability to rent and use PL glass.

Timpy, If you want a parfocal super zoom, you're unlikely to find one that isn't push-pull. That is, you won't find one with separate zoom & focus rings. Your best bet may be the first (and some argue the best) super zoom, the Kiron (Kino Precision) 28-210mm. It is also found under the name Promaster Spectum 7. KINO PRECISION was started up by engineers who moved from NIKON to make lenses that equalled, or in many cases, were superior to OEM lenses. Their fit, finish, mechanics and optics were top quality. The 28-210mm is a parfocal lens where the front element doesn't turn when focusing. When focused at 200+mm, focus stays spot on down to 28mm. When focused at 28mm, it is a tiny bit off when zoomed to 200+mm. This is attributed to a small amount of human focus error at the low end (28mm) and not a fault in the lens. It's most commonly found for Canon, but I've seen it in Nikon, Minolta, Konica and Pentax mounts. It is very affordable. Here's a little Kiron info from a guy looking for a zoom for his Century Optics and Panasonic anamorphics: Hope this helps! |. . | .|

My opinion? Keep the NX1 and buy a used A7s for those heavy low light situations. Will save you money compared to selling the NX1 and buying the new A7s II or A7r II. If you have nikon glass I recommend checking out a D750. Excellent low light even at 60 fps an a great image. Why do you need 4K? Do your clients demand it? Are they going to know that you upscale the lowlight footage? Or is it that you just prefer it? If your doing event work no one is going to care about the resolution, just getting a good image. Also, get a simple shoulder rig. IBIS will not solve all your problems and switching to a body with a smaller grip isn't going to make handholding any easier.

Gravity was terrible. The first 15 minutes were mind-blowing, the rest was a train-wreck. George Clooney comes back as a Ghost to help keep Sandra Bullock alive? Is that a plotline out of a soap opera? I think the film was supposed to have a different cast, but took so long to make, it was compromised. Another film recently that was a complete mess was Joy. I think directors who pump out films too fast make stinkers. Innaurtu had Birdman, which is amazing, and David O has been pumping out beautiful films really frequently. I haven't seen Reverent, but the trailer puts me off. I don't know why - I'm not a fan of the look. Feels digital. Wish it was shot on film.

here's some screengrabs from a short film I'm making for Bernie Sanders using the A7S ii with leica 35mm lens in 4k mode. Click on them to see full-size. Pro Gamut, sharpness at minus 5. CINE4. in post color chart, then to 500t lut and also adding in an alexa rec709 lut from film convert and some film grain. I'll make a lut to download if anyone is interested. I feel that even at minus 5 sharpness it feels too sharp of a camera. I'm really impressed by the quality and the stabilization on the sensor is great. Walking with the camera, well it's not going to look smooth unless you use a steadicam or a gimbal. Interested in the Nebula 4200 when it comes out. Also now I have to do a test with the Sony F35, F3, and A7S ii and see which ones I'll sell onto ebay.

WB above 5000k works with the blue highlight issue. Its been discussed a lot, and it works. Here's a sample