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New short film from Macgregor shot on Sony F35 is simply mouthwatering. I dare to say that I haven't seen anything better imagewise in digital camera world, but I have to admit that great grading also helps in this case.

I mean it ticks pretty much every single box. And its pretty darn affordable. s35 m4/3 mount Log XLR NDs External controls EVF You name it. Plus the nifty stuff like knowing how to crop, prime zoom, etc. The only thing bothering me (and most Ive talked to) is the videos look. But Im thinking it might be that there isn't really anybody using it, thats how should I say, in our segment. I mean most demo videos from cameras, be it cinema cameras or DSLRs, look pretty dull. Its first when people like us get it, slap on our soft vintage glass, grade and cover it in grain that we get excited. Ed David could surely make the e-m5ii shine, the Samsungs look pretty boring without some care, and most Sony demos look like "home videos". I wonder what it would be like, would love to try one. Might even do the (imo) dishonest thing and Buy/return just to put my mind at ease. This video shows a lot of ungraded Log.

5D has option for lower resolution "RAW" (it is not exactly the RAW becuase of resolution, but bit depth is same as original RAW). That is someting that NX1 does not have. Moreover - NX1 would need also electronic shutter to achieve "video RAW in photo mode". It would be complicated even for Samsung engineers... Let's focus on bitrate first... (...crop mode, lower sharpness or noise reduction)

To verify to bitrate thing one should compare newer fw with older ones, since they increased the max value.

This is pretty much exactly how it worked with the GH2 hacks. Vitaliy got a hold of the firmware obviously when they released the first update. Then he created a GUI called "PTool" that loads in the firmware and has windows for you to enter in new values for just the relevant fields. Then the "PTool" GUI saves your changes in a file identical to the actual Panasonic firmware which then gets loaded into the camera in exactly the same way one would normally update the firmware. You never "see" your new values displayed anywhere on the GH2. You just see the results and you can see the bit-rates associated with your new footage. So this is considerably different from how Magic Lantern works, but everything we've learned so far points to the NX1 firmware functioning at least somewhat similarly to the Panasonic. So that's encouraging. The easiest things to change will be the bit-rates (they've already provided for several ranges so we know it will work) and the removal of the 29-minute limit ... which is probably nothing more than a flag which can simply be removed like it was on the GH2.

you will need to get permission from the publisher of the book or you will face legal action for copyright violations - contact them asn ask - get it all in writting

Time to address the second most common question asked when it comes to anamorphics: "How wide can I go with this anamorphic?". Your problems are over! Here I introduce my hFOV calculator! Test it, break it, enjoy. Let me know. http://www.tferradans.com/blog/?p=8615 You can input all your settings (camera/crop factor, taking lens, focal reducers, anamorphic stretch and sensor aspect ratio) to check if you'll get vignetting, the equivalent focal length of your horizontal field of view and your final aspect ratio. You can also discover which taking lenses will give you a specific horizontal field of view and what crop should you set on your camera to achieve a specific final aspect ratio.

Without doubt my favourite camera series of the last 5 years has been the Panasonic GH range. But with the Sony A6300 on the horizon sporting a Super 35mm sensor with full 6K readout, is the future looking a bit shaky for Panasonic's video wunderkind? Read the main article

omg ? > seriously tho, Zak is one of the most GENEROUS filmmakers on all of the internets, and his insight is exceptionally valuable because of how goddam talented he is i WISH i had a team like Zak does. invaluable. i would feel like "this movie [im making] is gonna be amazing we're gonna make a lot of money" instead of "?????!!!!" lastly, purely in terms of business models, Down and Dangerous is a fantastically educational case study, thanks to the fact that Zak has graciously shared so much information about his process. the trailer itself is so professional it transcends any perception of low budget filmmaking. if i saw the trailer for D&D on television during a commercial break on fox in 2016 it would never occur to me that it didnt belong there. clearly paramount pictures feels the same way so, fyi: Zak Forsman isnt some jabroni, hes an awesome dude*. thanks for the inspiration, Zak *and ruggedly handsome i might add

around the time of the release of the movie, the total seeds for all the torrents i could find was just over 10,000. i don't know how high it got. The Turkish YouTube upload had just crossed 100,000 views when i discovered it (it had been up for more than a month). A torrent was also likely used to make bootleg Blu-rays that one of my actors found in Hong Kong. ps - fuck you, you belittling asshole.

Was driving passed my old neighborhood today, where the "Building of Moire" lays. I had the NX500 in my bag and the R1 buckled in the back seat. I also had some Magic Lantern shots at home. So I stopped. The Cameras are: Sony NEX5t Sony a6000 Sony FS100 Sony AX100 Sony A7 Sony A7ii Panasonic LX100 Panasonic HMC151 Panasonic GM1 Canon XC10 Canon EOS-M Raw Canon EOS-M Crop Blackmagic Pocket Blackmagic 4K Production Digital Bolex Samsung NX1 Samsung NX500 HD Samsung NX500 4K Crop LG G Flex 2 at 200mbps Red One MX

5d mark III does 1920x1080 raw by reading out every third row and column. It has a native horizontal resolution of 5760, and 5760/3=1920. Most Canon DSLRs achieve that with line skipping, which tends to leave severe aliasing and moire. Judging by the lack of severe moire in the 5dm3, it probably uses some variation of pixel binning, which does an analog average of neighboring pixels before reading out. Look up pixel binning online to find out more. Using pixel binning loses a lot of resolution and tends to produce aliasing and moire, which is why a full-pixel readout is considered a desirable feature. The NX1 probably uses pixel binning for the FHD modes, which is why the rolling shutter is reduced. In theory (I think) the sensor could do RAW with horizontal resolutions of 6480, 3240, 2160, or 1620 pixels. Unfortunately due to the nature of pixel binning, the 3240 mode would have less than half the resolution, the 2160 mode would have less than a third, and so on.

Exactly. This thread has been an interesting marketing lesson for Panasonic! It shows that if they put an over-sized sensor in there then the perception will be that they are dumping Micro Four Thirds standard, even if per my article (which nobody read) they are actually keeping it. Panasonic are in a perfect place to introduce two lens line-ups to one camera system. A dual 2x crop and 1.5x crop system. Small portable M43 lenses and larger coverage S35 glass. If not then we can just sit here and watch Micro Four Thirds die in a market place where you can buy a full frame camera for under $900 with lenses as small as the FE 55mm. Also the RX1R II's optics matched with sensor proves that full frame does not automatically mean massive lenses. The lens on that camera is smaller than most Micro Four Thirds primes. The fact is it is the 2x crop which hurts the GH4 most on the market where it competes with full frame and APS-C Sony cameras, also it is sold into a filmmaking would where 2x crop is a compete NON-STANDARD and Super 35mm is a match for APS-C. Sorry but that makes no sense, Panasonic.

Looks like Epic to me,as it is grabbing a decent chunk from the imaging circle of that s35 lomo (edge vignette due to optimised aspect crop) and has a familiar rendering of detail... but Amira/ Alexa/ Ursa would all look the same with a distinctive anamorphic up front like that. It was nice not think about what camera or lens was present when watching first time, the content was captivating enough...it could have been shot on VHS and still been a strong piece.

Strongly doubt Panasonic will go S35 for the GH5 and make obsolete overnight their entire lens collection!! That is just business madness. You could say "oh but it will still work with all the m4/3 glass in cropped mode". No, just no. This could spin into a marketing disaster for Panasonic, as it would be a very bad look for them and would send out a terrible signal about the m4/3 system and its future. MAAAAAYBE they might do S35 with an "AF200" (kinda like an ultra low end Vaircam S35), but absolutely not with a stills camera. All Panasonic needs to do is DCI 4K 60fps with 10bit internal and people will go absolute nuts over it buying the camera, and then Panasonic will easily maintain their lead over Sony for another year or more. But I won't deny, also getting as a bonus a multi aspect ratio sensor like in the GH2 would be nice. This would give it a "larger" sensor kinda, but still would work 100% with all their existing lenses. Plus of course I want full sensor read out for 4K with no additional crop. VLOOK or raw to an external recorder would also be nice too. When it comes to ergonomics, if they took a leaf out of Sony's book and had a detachable handle on the GH5 like on the FS7 so you could rig up a GH5 into a mini FS7 style camera that would be aaaamazing (however photographers would hate this! So don't see this happening). But the first two of 60fps 4K and 10bit internal are all a GH5 really needs to make a hit on their hands!

I saw this too and immediately wondered what it was shot on. Beautiful imagery and message. RIP Eric Garner.

Its as much possible as the existence of Magic Lantern, yes I mean CineDNG files. Apparently the Tizen Dev Tools exists but for Ubuntu Linux only. Explains how to build a package for NX1 or NX500 Edit: I found Tizen SDK Tool for Windows, wonder if it will work with the Tizen OS in the NX series.

A beautiful spot shot in anamorphic. Looks like a Kowa?. Anamorphic zoom? Anybody on EOSHD shoot this? Great job!

wow kewlll!!!! its coming this year i swear. ill send u a link great link, ive been there before but havent spent enough time. this is going in my queue lolol ??????? so true and the ppl who lift stuff from fine art usually look like geniuses to their peers because no one knows the source material hellz yeah for people who have never seen stuff like this before, you should definitely check it out, as filmmakers it might broaden your horizons, in a good way~! the cremaster cycle is kinda like taking dmt in relation to filmmaking (only it lasts way, waaay longer lol) the thing that amazes me the most about contemporary artists is how unique each respective practice is i like bill a lot. on a personal level, ive been disappointed in the relative reluctance of collectors to embrace video, as they do other media. i hate to say it, but rich old [white] people want a jeff koons sculpture in their backyard. when it comes to satisfying that need.... ::sigh:: even i have to give jeff credit i am seriously a terrible resource for this its kind of embarrassing. the truth is, i havent been paying too much attention to the fine art world for the last 5 years or so, ive been learning everything i can about dealing with hollywood and commercial filmmaking in general, fine artists are terrible at being a community. we tend to not get along well with each other, and we spend a lot of time alone. tbh its very competitive when i first got into filmmaking i breathed a sigh of relief... its a much more welcoming environment believe it or not. in filmmaking theres this idea of a team, and we all need each other, no one does this stuff alone~! graduate film students all help each other, while graduate fine art students all hate each other lol

This is officially off topic for all but Kaylee, but- I would love to see some of your work, do you have anything online? One of the biggest disappointments for me is not having watched enough video art work at my time at SAIC. Their video data bank probably could be the worlds largest source of inspiration for creative video producers, period. http://www.vdb.org/ Advertising agencies know this, but not many others follow video artists as much as they should. http://www.bbc.com/culture/story/20160205-when-ads-go-too-far I remember spending hours in the video data bank screening room (circa 1998) watching Mathew Barney, Sadie Benning, Vito Acconci, and a host of other video artists and being blown away. Although I never really fully explored the creative side of video, and went into corporate and events (weddings), it really was a exciting time in my life making video art and analysing pieces with my peers. The last artist I remember going mainstream was Bill Viola. I went to his exhibit and it was a whole world devoted to his weird and wonderful snippets, all projected onto walls, canvases, cloth and floors. I would love to experience something like that again. Are their other artists I should look into that are currently doing interesting work besides yourself? Are there any forums or communities where video artists commune online? if so could you send me some links?

They are so desperate to start selling LS300s at CVP that they are giving you a free Olympus 12-40mm F2.8 PRO and £500 off any accessory of your choice. All for £2977 inc VAT (£2481 + VAT) http://cvp.com/index.php?t=product/jvc_gy-ls300e At B&H it is $1000 off at $3k One thing is for sure, doesn't look like sales have been too hot and people aren't hot for the JVC brand. In fact I'd tape it up to avoid being laughed at. I agree on paper the spec is great and the image in that YouTube review looks very very clean in 2K 4:2:2. Nice to have LOG but the prime zoom I'd rather do in post after shooting in 4K. How's the codec in 4K on this thing? What's the bitrate? The main concern I'd have over this camera are the ergonomics, speed of use, snappiness and logic of the menus and quality of the sensor. Will be surprised if it looks nicer than an A7R II in Super 35mm mode at high ISOs or a NX1 at low ISOs. But yeah, definitely a curious beast to try out. Just get it from somewhere with a good return policy. Why? Because it's a JVC

Well. I'm rooting for JVC giving you a loaner as well! In theory it's kinda something along the lines of the FS5 and DVX200 it seems, just at the same time not at all either. So it be interesting if someone could still find some life init. Especially now that prices dropped, because nobody seems overly eager to pick one up, yet it might be interesting to get... We've all been discussing the possible GH5... which is rumored not to even come out this year, but next... and this would already do that S35 trick! Plus, it's not a Varicam, but it's somewhere to go from owning a GH4 to getting a bit more solid system without resorting to Sony & Blackmagic and rendering a native M43 lens collection useless, Yet something's holding everyone back apparently... is there really something off with the system or are we just scared of things that aren't the norm?

good night, brave troll. and it's spelled "genius", genius. The movie was distributed by paramount internationally. that included both those countries and whatever rock you just crawled back under.

No. Same goes for your original question with the quote, as long as its properly attributed, it falls under fair use. Watch any issue driven doc and you'll see a barrage of quotes from news stories, video from news reports and so on, as long as its attributed, you're fine. I watch a few docs a week, along with Frontline and 60 Minutes all the time and they cite stuff from books, newspapers and so on - constantly. Its all about attribution, cite the source and you're good. I'm not a lawyer, but I took every media law class offered at my university when getting my journalism degree. I wouldn't hesitate for a second pulling a quote from somewhere else and including it in a piece. Its done all the time, its fair use as long as you're citing your source. I'm only speaking about the U.S. http://www.cmsimpact.org/fair-use/best-practices/documentary/documentary-filmmakers-statement-best-practices-fair-use#two

Anything that gets read directly off the image sensor is "RAW." Magic lantern RAW comes from the image that is read out for live view, which is the same sensor mode that is used for video. Any camera with live view (essentially all modern cameras, including the NX1) could be hacked to do RAW video in theory, since they have to read out the sensor to memory at some point to get that preview image. It's just a matter of what resolutions (and bit depths) are available and how fast the camera can write that data to a card.

The information you need to give to get a sensible answer is the following: What is the thing you want to quote - is it a non-descript paragraph from a lengthy tome or is it the first verse from a short poem - the amount of the work you want to use and it's promenance is very important. Even a single line from a long book can land you in trouble, especially if that line were something like: "The man in black fled across the desert and the gunslinger followed" - one of the most iconic lines in Stephen King's "The Gunslinger" series would be absolutely off limits, whereas "The man in black travels with your soul in his pocket" from the same book would almost certainly be fine. As for the amount, the publisher almost certainly gives it's own authors guidance on the amount of work they can use in their books, they would be fighting a losing battle if you get a hold of that information and stick to it yourself. Is the thing you want to quote an unadorned fact - if yes, then go ahead, it's fine - "Humans live on the Planet Earth" for example, however "Humanity existed on the surface of the planet earth like termintes in their mound" is adorned with descriptive language and this is copyrightable - I made that up fyi, and yes, you have my permission to use it however you wish The purpose and character of use, is this a for profit venture, is it educational or entertainment - if it's both then for this purpose, it counts as entertainment unless it's aimed at children, when entertainment is beneficial to the education. The other thing to consider is how your work relates to the work you want to quote - if your work makes any part of that obselete, i.e. something of value given in that work is replaced in yours, you would not be able to do this - e.g. if I were to make a documentary on whales and I quoted a book by Richard Attenborough about sea life, if even a paragraph of that book contained information about whales, then my work would make that paragraph obselete, and I would be in trouble. If you are very confident that you are on the "fair use" side of all these terms, and very far on the fair use side, then you should be fine - at least in the US

Well then your chosen route will also probably ensure that most of the movie industry goes bye-bye. Leaving us (and you) with little more than superhero sequels. If that's all you want to see out there anymore - well then, by all means, have at it.

From a youtuber / journalism / film making perspective I think the following features would yield the most IQ progress: - Global shutter, - 4k 60p - 4k 10bit 422, 200Mbit recording - Full sensor read out downscaled to 4k - NX1 level of focussing + tracking. - Auto iso in manual mode - + 1 stop in DR and iso. - 5x IBIS would be nice too. I like the idea of an oversized and/or multi aspect sensor. A cinema lens set would be cool too. Great to see so many responses here. I wonder if Panasonic employees actually read along.

looks great. classic case of a weak marketing campaign. I expect very few here will have even heard of this camera, let alone looked at it as a option.

The publisher will say no, it's literally their job to try to get you to pay money, whether you legally have to or not.

SLR Magic 12mm purchased. With a VND so I can use it wide open.

I read the whole article before first responding. But I still disagree. Like I said before, full frame and APS-C existed before Panasonic and Olympus consciously made the choice to build a smaller m43 system. They did this to reduce size of all components and carve out a niche for themselves. Now you're asking them to confuse their niche. They're already competing just fine and GH4 sales are good. They can continue this with a 60fps GH5 and 10-bit internal. Those two alone will sell the next camera to a lot of people. Let's say they dd this tomorrow, who else on the market is offering you a 4K 60p 10-bit camera for under $2000? Will Sony catch up, sure. But that's just the nature of the game. That's why you don't pick cameras based on the latest specs but the one that works for you when you need it. Again, adding a S35 sensor is just going to upset people who are already invested in m43 glass. Because now they can't get the most out of their new camera with their investment in m43 lenses. Which will make them not want to invest further in m43 lenses going forward. If Panasonic makes APS-C lenses as premium glass, that just fragments a system that doesn't need to be fragmented. The only reason APS-C DSLRs exist is because Canon and Nikon needed to find a way to get better yields on their sensors in the early days when making full frame sensors was a lot more expensive and more prone to error on the larger waffers. So they fragmented out of necessity. M43 doesn't need to go this route and I don't think they will. Nor do I think they will become irrelevant if they don't. What you're looking for is a cheaper/smaller Varicam. That's what you should be asking them to make. Not disrupt their m43 line. No they would not. Larger sensors require a larger circle of confusion which requires larger glass elements to retain certain speeds. Why do you think 16mm lenses are smaller and medium format lenses are bigger?

I still think they'll release something in the 4-10k range for video. It seems when companies are rolling out a series of cameras they start with the higher end first and work down to the low end. Canon, Sony. Blackmagic sort of did it with the URSA.

thank you for your thoughts, thats very insightful commentary, since that is essentially exactly what im doing my work is kind of like the cremaster cycle, but watchable and entertaining theres a huge emphasis on important live events that drive my story... and that content will be available online for free and theres all kinds of stuff in my art practice – from big drawings to sculptures and installations. so in theory one of my shows is gonna have all that stuff. and youre gonna be entertained by some kind of "show" thats kind of the big idea in the abstract if theres one thing that never ceases to amaze me its how endless the audience seems for people willing to PAY for porn kink.com is an example, and theyre considered p mainstream now, i mean theyre a huge company. my friend just did a scene for them not too long ago and she told me some of their numbers its insane like, have you ever heard of myfreecams? its a site where you can watch for free or tip the performers its an option. its the same thing if you watch it for free however tipping allows you to be interactive and... idk people love it. i know a girl who made like $130k in 3-4 months on that site and selling her own homemade webcam videos through manyvids or a site like that. now mind you she did this by first spending several years amassing a huge audience of 100k+ tumblr followers, giving them FREE content all the time. ...but would people pay for it? especially when it was free the week before? clearly in her case the answer was YES. she paid for 4 years of college in a few months, but it was after years of audience building, and frankly spending a ton of time being interactive with her fans. it worked like a charm, but shes p smart, thats my point: she planned all this out. thats what we can all learn from. the planning lol but i digress

I wish Panasonic would abandon the built-in, pop-up flash in favor of an articulated EVF.

Amen brother. Haven't picked up the D5300 in a while now. I'd rather work a bit more on getting MFT right, than dealing with the D5300's quirks and underwhelming features. Although... that A6300 already has that S35 we're talking about the GH5 should have and has just about all the mirrorless features you could ask for. Even adapts M43 glass... that does spike the interest...

I wish Sigma would do something like that... Sigma ART... meet Sigma CINE!

But I was actually talking about a possible Panasonic competitor for the Sony FS5/FS7, not the actual VariCam LT, that's why I said "budget" camera, a sub-$10k camera.

I'm not so sure about this - there is a lot of development into this technology right now, HDMI to USB converters are key in live streaming setups used on twitch tv and the likes. Currently the gold standard is the XCAPTURE-1 USB 3.0 HD Capture Unit, and this is the only external card of acceptable quality for a professional. There are amateur units avaliable, but they have issues, such as the Avermedia Live Gamer Extreme, and the quality is barely acceptable. Such a small unit, I would expect massive latency and significant signal degradation.

What format exactly did you use? DNxHR is supposed for resolutions above FullHD apparently and always has 4:2:2 color (which you probably don't need). I think we should make some tests which bitrate is the best DNxHD for VIMEO upload. There's a huge table on wikipedia that shows which version is for which fps, bitrate and color depth. Makes probably no sense to use the high end one with 10bit color to deliver 8bit material. I think DNxHR might be overkill and one of these middle of the line DNxHD the best tradeoff. I think it's a bit annoying that there's no ProRes on Windows and no DNxHD on Mac. I heard the non native (reverse engineered?) implementation of the Quicktime codecs is why you can get gamma shifts.

Andrew, basically you want an FS5 with Panasonic logo on it. VLOG 2.0? What's the problem with the 1.0? Noise and 8bit. Noise is sensor based problem, and noone offers 10 bit internal recording at this price range. I think Panasonic will stick with the 20MP m4/3 sensor which is already developed. 6K fullreadout 4K is reasonable, 4K 60 fps is also possibile. In the past 2-3 years Sony produced some awesome products and even Panasonic is too slow to do a reasonable reaction to them. I dont think GH5 can grow up to the expectations.

I could live without 6k. Want high DR. And 4K RAW to the Shogun instead. Otherwise I would probably buy it. But the NX1 sounds pretty close to it. A NX2 would be nice, if they pick it up again.

This is partially the cost we're playing paying for the entry level into the industry being so low. Not but 15 years ago the cost of filmmaking, heck of making a reel, was exponentially higher than it is today. A kid in highschool with $2000 worth of gear and some talent can make a spec that would rival the industries best in the 90s. That same jump in technology and low entry level means we have a harder time not only standing out, but means we're having to fight piracy at a level unimaginable 15 years ago.

They do, Its in the video quality setting. The question is are they sandbagging with the HQ video setting and by how much. Honestly for me the 4K/UHD quality of the NX1 if good enough for my purposes. I would really just like to see things like the 29 min limit removed or 4k 60p or 1080 240p

Piracy is a very emotive subject, especially for creators of pirated content, and I have been involved in three industries now which have dealth with piracy in different ways: Music, Video Games and as a Youtube producer. I feel because it is such an emotive subject, there is a lot of assumptions made and they can be incorrect, for example, every instance of piracy is a lost sale is a common attitude among publishers and studios in the video game industry, yet it is demonstratably false, and some studios report an increase in sales after a pirated version is released. So this is my 2p, and the reason I created an account to stop lurking here: Piracy is a service problem. Piracy was rampant in the music industry, it was and still is easy, the file sizes are small and nearly any album can be found and downloaded in 5 minutes flat. At first, the industry cracked down hard on the file sharers and site owners, however the legal system cannot keep pace with the internet and the vast majority of cases were dropped because digital evidence is notoriously expensive to collect, easy to manipulate and rarely is more than circumstantial. Besides which, for every site that gets taken down after a year of work, twenty more spring up, with more sophisticated defences against detection. Why then is the music industry, particularly the indie scene in rude health? Well, simply because it is easier to get digital music legally than it is illegally. People are definately willing to pay for music, and most people with the disposable income will pay for it if they can. Now, lets look at the most pirated tv show of 2015 - Game of Thrones. Lets look at how convienient it is to obtain legally in the UK. You can of course buy a DVD set of season 5, watch it "live" on sky or buy a Now TV pass. The most expensive option by far is Sky, costing a minimum of £400, though admittedly, this gets you 2 seasons - 24 month bundle and you get to record it, watch on your tv etc. A DVD is the cheapest option, at £20 for the season, though you have to wait until you can buy it. The middle option is to buy a now TV pass each month that an episode is broadcast, costing £21, if you're smart and you get to watch it live. The problem is, people are already paying for a Netflix subscription, Amazon Prime, Spotify, have a library of steam games, have a library of DVD's, and quite often, they just want to be in the loop. They don't care about game of thrones as much as talking about game of thrones with their friends, so the £20 is not something they're willing to pay. So they don't because it's just not worth the money + hastle of waiting or figuring out Now TV. These are not people who will pay for GoT anyway. If you implimented a perfect piracy prevention system, they would not pay. So the question is, if you can, as kaylee wishes, implement a perfect piracy protection system - which you never can - if it displays on a monitor, you can simply set up a dummy software monitor which "displays it" into a memory buffer and records it from there - but if you could and the budget made sense, they why wouldn't you? It's a service problem again. Yes, you may prevent piracy, but at what cost to your legitimate customers, the ones who gave you the full asking cost to watch your content. You make your product much worse for them, and that has proven time and time again to cost you customers. Gametrailers shut down this week, why, because of their insistance on using proprietry video player. The audience doesn't want to deal with "not as good as youtube", and so they just don't. They go elsewhere, even at the expense of missing out on that content. Kaylee, you could introduce some system with timed tokens and whatever, but all you would do is annoy people who gave you their money as halfway through watching your video, you get an error and they have to reload to start watching again, yet I promise you, the pirates who paid nothing, who stripped that system out of your video would be getting a better deal. You know what companies I will no longer buy from? Companies like EA, who's paying customers get a substandard product as a direct result of anti-piracy measures, when the pirates get the product the creaters intended. I think you just have to accept the basic premise that piracy happens, it's a cost of doing business over the internet - the business 99% of small content creators wouldn't have if it weren't for the internet. It's worth considering that not every pirate is a lost sale, if the content isn't worth it to them, if they cannot afford your content, then they never were going to give you the money. That they get the content anyway is maybe worth making peace with, and focus your efforts on making better content that appeals to more people, so that the balance shifts, that it becomes worth the asking price for more people, and the evidence suggests that if you do that, more people will pay for your content. Finally, it really is worth looking hard at the demographic of pirates. The research by Excipio shows that piracy is most common among the poorest, and youngest in their surveys - correlation is not causality, but can you so easily dismiss the idea that the $3 the Sundance Infographic tosses out as "only" when $2 is more than a days pay for half the worlds population - would you pay a day and a thirds pay for a movie? I wouldn't, because for me, that would, on a bad day be the equivilent of dropping £150. And yes, if you put the cost of access to your movie at £150, yes, I would pirate it.

Certainly pros need to work in the specialized minutiae and hone their craft, but I do think it's a bit silly when a naive hobbyist with a t2i tries to shoot raw with expensive lenses, and then attempts to apply advanced LUT's to footage --when they can't even yet figure out how to point a light in a meaningful way, frame an interesting composition, or structure a story with any compelling cohesion. I guess it's just easier to be technical than creative. Well, I don't 'guess' in my case, anyway. I know it is for a fact.

exactly , a set of matched lenses is essesntial for glass parity - thats why I champion the Nikons so much - the 20-35mm 28-70mm and 80-200mm all match and cut together very nicely

Im using the Nikon Glass as it is all very consistant and cuts together very nicely , and I do like the look it creates , it doesn't crush the blacks like Canon lenses do , there is alot of detail in the grays too , I use the 20-35mm with a Metabones XL Speedbooster as it has the equivilant of super 35mm gate /field of view . I very rarely shoot beyond 20mm , as Im not a fan of wide lenses much , I know lot of people on here want the widest fastest lens they can get but for me its just not cinematic at all - looks like video due to such a big depth of field . I shoot on long lenses most of the time as thats my style and I prefer the look and separation you get . most of the time I shoot with strict lens decipline on set 28mm for the wides , 40mm for the mids and 70mm for close ups and 100mm for the head shots , thats it ! so I'm never really in the 20mm range much , 20mm is there on the Nikon if I need it and I always carry a 14mm and 17mm incase for extreme wides - but they dont get used much by me! On my last film the Producer was constanly saying - 'Don't use wide lenses they look unprofessional !!' meaning no mega deep focus !! on the Sony Vs Panny theme , if I was filming in moonlight in a field I migh use the Sony , but the Panny is an amazing camera , I use lighting , I play in the shadows alot , thats the look I prefer ,I dont over light and the Panny works great in low light very very clean in the blacks no fizz and noise , I never go over 800 iso , 200- 800 iso is my range and I light for that - it works. The G7 really does hold it own against the RED and The Alexa , its a great clean camera - and you can stream 4k to an ATOMOS NINJA ASSASSIN and record 4K ProRes at 744 mb/s - amazing !!

your XL speedbooster is an amazing essential piece of kit as it makes the 4k Panasonic cameras into very serious film making tools when paired with Nikon 2.8 Zooms , As I mentioned Im DOP on a British Feature film Pandora , we will be shooting this film with PANASONIC G7 4K cameras and Metabones XL Speedboosters. We have done extensive tesing of the G7 camera in 4k 24p mode with Metabones XL Speedbooster at Media City in Salford UK with my post production house - We Create - (Rod Edney and Paul Whiting) and we have found the G7 / Metabones XL Speedbooster combination to be better in low light and less noise in the blacks than the RED 4K files we compared it against and found it also almost indistinguishable from Arri Alexa files we compared it against. The guys at Media City where very impressed with the Metabones XL Speedbooster. All in all we are committed to making the whole movie with Metabones XL Speedboosters on all 4 camera Rigs. Brian I have just PM's you some info - thanks Andy