Leaderboard

I would pick A ...and find another bird...(Panavision dolly in on a crane...I have a budget!!!)

lol no ive never heard that before

Or you're just a little too much... Anyways, what was it you said again..?

hear hear on a side note, I got a response from the filmconvert guys today with regards doing an nx1 profile, seems promising.. "Hi Aaron, Most likely Not quite definite yet though. Best Regards"

Must be some bird...

Looks pretty typical of Indian mainstream cinema, lacking nuance in color. Just saturated indiscriminately. If you enjoy bright colors, I suggest anything by the Chinese director, Zhang Yimou.

"Virtual Reality" is a very new term and can be a very broad term. So some people could arguably classify 360 degree video content under "VR", but other people who are VR snobs wouldn't regard it as "proper VR". For "proper VR" they'll say you need to not just have 360 degree vision around yourself, but also have complete freedom to move through the space you're in as you wish (just like you can do in real life). So how can you create that freedom of movement? Well you'll need to create all the items in that space (& the space itself) painstakingly from scratch, just like they do with video games. This can be very difficult and expensive (this is why video games can cost hundreds of millions of dollars to make, just like big blockbuster movies do). And the downside is it still won't truly look life like!! Instead it will look like you're in a video game. 360 degree video has the downside of you lose the freedom of movement, you are instead constrained to take the same path of movement through the environment as the filmmaking took during capture. It is like you're on an amusement park ride, once you're strapped in then you're going to go through it the same way the rides are going to go, following the tracks. But the upside is 360 degree video has the benefit of looking waaaaay more realistic, as you're filming real life itself! Also 360 degree video has the benefit that it is relatively "easy"-ish to create content. Well... still quite tough! Just check out my other thread where I'm discussing hardware requirements: Then you have software needs as well! Which are themselves quickly a very complex issue, and can be very expensive to purchase. A slight tweak to this 2nd approach is to do 3D 360 videos, this gives you stereoscopic vision in your VR headset, rather than seeing just a "flat" looking video. A potential big improvement for sure! However.... this means double as many cameras, which means more the double the hardware complexity, and more the double the difficulty in post production. But all of this is a walk in the park compared to trying to do "proper VR" in a truly photorealistic manner. For that you need a capture rig kinda like the bullet time rig from "The Matrix", but even more complex and comprehensive. Then a vastly more complex software step to turn each capture into a moving 3D model with the filmed texture overlayed on top. Another big downside of this approach is you can't do large/complex scenes at once. For instance if you wanted a VR experience of a party via this method, you couldn't just a capture a crowd of people drinking, dancing, and having fun. Nope, instead you'd need to do each person one by one, then insert them one by one into the scene you're creating in the computer. On the upside, it does make it heaps easier to edit the scene in post if you wish to move or even remove elements from the scene! Want to move that idiot with the jerky spazzy dancing to the back of the scene instead of at the front? Done! Maybe the promise of "The Edit Button" will come true one day... The other downside to this approach of using videogrammetry is that currently the quality you get is usually absolute rubbish, here you can see one I took of myself last month (it is a moving 3D model, which you can fly around it as you wish, or place it anywhere within a 3D space you create in Unity): As you can tell, the quality looks like absolute trash compared to what we're used to from our BMPCC / URSA / Sony FS7 / Samsung NX1 / etc cameras!! However, that was just a very rough and quick test capture I did (for instance I didn't bother with lighting it at all), and I could significantly improve this. But it still is at best rather bad, unless you wish to pour millions into this! And even the companies which have tens of millions of dollars of funding behind them still are not hugely better than this, and have a looooong way to go. But I expect "soon" this approach will be mainstream (it is an open question as to when "soon" is, maybe just a couple of years away? Or maybe a decade away.... ). So each of these three approaches have their own serious pros/cons list to consider, and I wouldn't consider any one "better" VR than the other. They're just different tools to use, depending on the task at hand to complete. Looking into the future, I think that although the 3rd approach is clearly the most undeveloped of the three, as tech improves it will likely become the main choice for creating high quality VR content. But all three approaches will remain valid approaches to VR creation for years to come.

Your reviews are great Mattias, I followed them on Youtube before knowing you were lurking here! JVC has a beautiful JLog. I'm still very interested in this camera but the ISO performance wasn't stellar. Still, for the price is hard to beat and I would love to see JVC winning at it. The viewfinder is not great and it's a pity they didn't get rid of it ala FS7. It's a weak point and still takes precious centimeters in the bag. Also they need to put JLOG too on the GY-HM170 and the GY-HM200 so shooters can have other camera options to match the footage in multicam shootings.

This is a MOVI 15, famous gimbal. Written on the photo you uploaded. Other than that I do not find the video amazing but actually pretty cheap and superficial looking, and I can't bear the sounds :D Just my opinion

Leica are really going to after pro video shooters with the SL. Meanwhile RED are persuading medium format photographers to use a 6K Dragon or Weapon. A gap in the space/time continuum captain?! Step forward the next specialised tool to turn camera-chameleon: the Fuji X Pro2. Read the full review on EOSHD here

This is an upcoming Indian film called Theri. I just love the color palette and the overall feel of the images. I was curious what cameras were used on this, so I looked up the cinematographer on twitter. Turns out most of it is filmed with an Arri Alexa, parts of it with a Alexa Mini, and at least some part (probably some action sequences) using a Red Epic on a strange gimbal where the camera is above the handles (I've at least never seen anything like that before for such a heavy camera) and some drone shots. How do I get my short films to look the way this does? Right now, I shoot with a T3i, but I'm planning to either upgrade to the NX1 or a6300. Of course, a lot of this has to do with lighting, makeup, lens selection, and color grading. But the best tips and tools you have would be great! Thanks, Vaga

Hair, fabric, buildings. When sharpness locks on it's damn detailed. But not in a brittle way. Colors, mood, works. Nice.

Not sure what you are on about... I was saying that it was a bold move to put 4K/60p in a $6000 camera when their flagship C300 II doesn't have it. As for the rest of your post, it is just pure speculation, with a healthy dose of Canon based tears mixed in. But yea, i'm sure you visit Canon's factory every day keeping upto date with their tech

No. I color grade my videos, but I don't pull or push too much so I haven't even bothered with the FLAT

the actual look of that was maybe not the most impressive part. the slowmo, choreography, editing of the preview, acting, writing style all seemed to play a bigger part in making it look great. but, if you want saturated, with my t3i, shooting semi flat, it seems like bringing all the saturation up doesn't work quite right. reds seem to clip pretty fast. in hitfilm i raise the master saturation to 40 and set the red saturation to -30. seems to work out well. I may be screwing it up myself by shooting at all flat with a t3i, or I'm in some weird middle ground there. I know others shoot even less saturated in camera with a t3i than I do. or maybe my editor is odd or something. but that may be something to toy with, if it might just inherent to the t3i. there's cool stuff to be down with natural light if you haven't yet made an investment in a lighting kit or are saying you're starting to give up on making something look nice with the t3i and you're going to upgrade. it's a pretty great camera, had it for a couple years and it's still teaching me things. better to have a bad camera you no how to use than a great one you don't

Have I missed something or is the d500 still recording 4k in a terrible crop mode.

Canon's "D500" equivalent is the 7D, and we had to wait for ages to see the 7D mk2, and that only just came out. So no, we will not see a 7D mk3 in response to the D500 any time soon (actually, it is the other way round.... in a way the D500 is Nikon's response to the Canon 7D mk2, they're now of the same generation).

Hi Squig, Ahhhhh, I see. Like you said, I don't see much of a noise difference in the wide room. Definitely not a deal breaker at all since I'll have lit/bright shots. Just wanted to make sure. Nervous about being an early adopter with the history of kinks. I picked up both the Pocket and Micro (with Zacuto EVF) to decide which one I like. I do like the option of a screen on the bmpcc, awful as it is, but I find it good enough to gauge focus and check exposure. Plus it makes it easier for on-the-go shooting with a small lens. The Micro does feel nice traveling light as Andrew mentioned. I plan on rigging my setup either way. I do wish there was a tiny screen add on when traveling light. The Zacuto feels a little odd for that purpose. As mentioned menus output to through HDMI just fine. It feels weird navigating–I did adjust. I don't see myself doing quick on-the-fly adjustments. For my shooting, I'd just set the ISO to 800 and adjust exposure via ND or aperture. Here is a shot of the menu on a Zacuto EVF

Or a hot girl of course...

The ASC Mag piece on The Bourne Ultimatum can be found here: https://www.theasc.com/ac_magazine/September2007/TheBourneUltimatum/page1.php . Not only ARRI cinemods these, there's Duclos, G.L. Optics/Cinema Glass and Cinematics/PCHood that will mod these kind of lenses as well for example. The official name is 'AF Zoom-NIKKOR 80-200mm f/2.8D ED'. Tagged AF-D by uncle Ken. Just beware that: The other Bourne lens is officially named 'AF-S Zoom-NIKKOR 28-70mm f/2.8D IF-ED', in which case the following goes: These Nikon lenses are known to match very well amongst one another, though I couldn't give you any guarantees as I haven't used the 17-35mm f/2.8D myself or delved into its capabilities, but I think the fact these get customized says enough.

If one of the criterias is what you personally find acceptable, how are we going to be able to help you? You'd be better served encoding a couple of clips at various different quality levels and working out the minimum you can tolerate, and going with that option.

It's great. I shot all of this in 120fps and the long continuous takes really help in the edit, much better than the 240fps cache record and buffering mode. Add to that the F1.8 lens really helps in low-light and you have a great run & gun camera.

Hi there, I've been a lurker for a looooong time but decided to join up. I'm a newbie so learning as I go. I recently received the BMMCC camera and did a very rough test between the BMPCC, same settings in a lowly lit room. I wanted to see if the dark areas showed dead pixels. Instead I saw this vertical banding going on. If it was broad daylight, something like this wouldn't be common/noticeable, correct? I am aware these are not lowlight cameras and I'll be using lights with them. I wanted to be discreet because I didn't tell my partner I purchased new toys...I will soon! :P If you want more proper tests, I can do it tomorrow when I have some alone time. I did some contrast adjustments to the stills to show the difference. Vimeo file.

The BMMCC form factor is perfect for a small and capable gimbal. The question just is, how much interest there is for such. LeViteZer Smooths the movement, www.levitezer.com

An hybrid viewfinder, in other words an EVF. On the 5D4? I will take it please. Thanks. http://www.canonrumors.com/patent-hybrid-viewfinder/

Can a camera that only offers a EF or PL lens mount truly be considered mirrorless? True, there is no mirror, but if you throw away the possibility of short BFL optics what is the point?

A 360 camera allows you to play google maps in your own place. Google maps uses static footage (photos), the 360 camera records moving pictures. If you use four cameras yourself and stitch the footage together you get the same effect. Problem is you need something to project it on. Either it will be projected on a 3D cylinder in your computer and you can rotate a 3D camera within the cylinder ( the google maps way) or you need a special build theater to project the footage. some years back Peter Pan was performed in London on stage and the complete theater was enclosed by a 360 screen on which animated environments -rendered in a 3D program- were projected. VR is basicly the same as a modern video game. The environment is created in a 3D program and imported into an engine that lets you navigate through that environment. The environment is rendered on the fly. And that is the reason you can remove 'reality' from virtual as it looks very artificial. Current computers and graphic cards are not fast enough to render reality in real time. But at least it's kind of "3D" ( you're still fooled with projected textures). Oh and there is no such thing as a 3D movie or a 3D tv. That is stereoscopic we talk about and it has nothing to do with 3D. There are 3D movies but only because they were made with 3D programs, think of 'ToyStory' or 'Horton hears a who'. Also most fx shot are done in 3D programs nowadays. The footage from 3D programs is as flat as the footage coming from your camera and nothing in the world can change that ...at least not in the years to come.

Yes, you got it right. Funny enough, nobody else noticed the rolling shutter and auto WB shift that iPhone does from time to time, or the autofocus micro adjustments. Tito, you are the king of the world.

@ChemaMumford . I just received mine today and that's was one of my first test. You can't shoot in 60fps RAW. You can do Raw 3:1.

Looks really really nice, thanks for sharing!

You can if you rig 'em up to do so... just not for 200 bucks.

That UHS-II card should be WAY faster than that. It looks like the camera write speed will be the limiting factor. Still, 68MB/s should be enough for 500 mbps. The bigger concern is that Vasile got a "Card Too Slow" error message with one of the fastest UHS-I cards available. Even if his card would write at only 37MB/s like the Transcend one above, it should have been able to handle up to 200mbps and he said he received the error message at anything above ~95mbps. Maybe UHS-II cards will double this amount, but it looks like UHS-I cards will see very minimal gain from this hack.

I contacted Sigma directly about this after very little valuable data came out at WPPI. Their response is that yes, indeed, video AF with the MC-11 and 18–35 1.8 and/or 50–100 1.8 will function just as any other of the newer Sony lenses do on the a6300. This news, if it turns out to be true, will make my year. I will make sure I have a Sony at NAB next month and test this personally. I sold my A7R2, but not without major hesitation. I updated my review on the a6300 here when I did a shoot without using the camera's internal compression and the camera still overheated. Recorded to an Atomos Assassin, climate controlled indoor environment the whole time and the camera temperature warning came on after about 90 minutes of off and on use. That's sad. I updated my review here to warn people about more than the jello. My new favorite name for the camera is "jello in a toaster". I'm kind of hoping it becomes a thing and people stop referring to it as the a6300 and use my pseudonym instead.

If you needed a body now, I would get an NX1. It's more of a complete package with longer battery life, good ergonomics, no overheating, great image, etc. As of today's date, the NX1 gives you a better shooting experience. Don't worry about an eco-system or an investment. Cameras are meant to be used, not collected. Sony's future system upgrade path won't fix the current flaws of the A6300 (i.e. no touchscreen, poor handling, rolling shutter, etc). You can use an NX1 until it dies after the warranty is over, and then maybe look at a A6300 successor. Sony make some really questionable design decisions, and the A6300's deal breakers are too hard to ignore.

Just testet (with the tool in Dev mode) in Camera: Transcend SDXC 64GB UHD-I: Read: 68.571 KB/s Write: 37.873 KB/s Lexar SDXC 64GB UHD-II: Read: 88.619 KB/s Write: 68.374 KB/s

Your calculation is correct, but this my mastake makes it even more exceptional the processing power of the samsung nx1. My experiment done with Samsung nx1 + Sd card GOBE 64GB 95MB / S read. Test 1, 15fps- raw28 + jpeg super fine (40MB for both), buffer full, and camera stop after 131 files (600MB/s continuos shooting for almost nine seconds). Test 2, 15fps, super fine Jpeg, 6480x4320, 143Mb / S, never full buffer, camera continuos shooting without stopping. Test 3, 15fps, super fine Jpeg, 4682x2592, 62MB / S, 16: 9 aspect ratio, camera never full buffer, continuous shooting without stopping. This test is proof that the system software and hardware of the camera are capable of internally recording unbelevable 143MB/s (with possible peaks of 600MB/s) and can shoot 30fps at 4682x2592 jpeg format super fine (124MB/s) without any problems!!

seems like that com.samsung.di-camera-app is something like the complete gui of the camera. at least it contains all icons and images. so i'm currently taking a really close look at it as well too bad it's a compiled binary...

Just a built-in fan and maybe a 3x larger battery, at very little cost to Sony, this would have been an amazing camera. Is this bad engineering? I think so. After all the engineering, it looks like they didn't do any product testing, at which they would have discovered they needed to stop the release and engineer out the issues. Because the reliability, it's a toy/gadget that can produce professional results at times or in small increments, but it is not a professional tool that can be relied on.

Is that just raw from the bmmcc youre talking about. How does prores hold up. If prores could almost match 5d3 raw then that would be an acheivment, especially at 60p.

So what would you guys prefer for photography? Sony A6300 or Samsung NX1? I know Samsung quit the market, but the APS-C E-mount lenses are just disappointing..I am torn between those two.. Pros NX1: larger body, touchscreen, overall handling, bigger battery. Cons NX1: Samsung is pulling out of the market! Here in Germany it becomes more and more difficult to get a Samsung lense, no future support or so on. Pros A6300: Maybe AF, little bit better low light performance, there are smart adapters for Canon, Nikon and Sony A-mount lenses, Sony has a future unlike Samsung. Cons A6300: Body/ overall handling, no touchscreen, bad battery life, no pro APS-C E-mount lenses, you are forced to buy the full frame Sony lenses for much higher costs..So what do you think?

Let's take it to Kickstarter! Joking aside (or are we?!), I don't mind the M43 crop and mount too much, it's quite workable. I just wish it had a bit more performance in it. All comes down to pixelsize, bitdata and processing/codec. Imagine a crossbreed between the NX1, GH4, E-M1 and BMPCC. But yeah... not likely to happen unfortunately. Unless indeed someone takes it up to themselves to change the game, but that's just not realistic I'm afraid.

The film is done. Password: Flubb3r

I think Andrew draws a fair conclusion in his latest article... I'd consider those options. G7 and NX1 if you need 4K. Nikon D5500 and D7200 for hybrid shooting, decent lowlight and great stills capability. My 2cts. I'd forget about the Canons, dBolex and Sony cams. But that's just one guy's opinion.

the colour is straight up beautiful.... Looks like s16 film

But it's 4k 10-bit 4:2:2 via the SDI in a probably quite natural rec.709 color that you could record to ProRes HQ 422. If you don't want to grade too far into stylistic ways or bend the colors, that could actually give good results for a lot of people. The question is just how much dynamic range you'd have with that in comparison to everybodies MILC darlings that do a flat 8-bit 4:2:0 image... plus whatever the low light behaviour is.

Currently, I'm using the RJ Focal Reducer 0.72x, Helios 44-2 MMZ and Helios 44m, and Bolex Moller 8/19. I'm considering trying some EF taking lenses, so if any of you in here have any good recommendations for some nice EF lenses to go along with my Baby Moller, I'd appreciate it. Here's a recent video I just shot with this setup. GH4 + RJ Focal Reducer + Helios 44-2 MMZ + Baby Moller.

Let me know if you'll be at nab, I'm alway down to meet more people. Actually even if Andrew doesn't make it for some reason, I see no reason the rest of us can't get together.

@ Andrew: Philip Bloom caled he wants hes location back

Get color finale. It has every color tool you will need.

Blackmagic Design Cinema and Pocket Cameras. 1. Record in Film-log RAW at native ISO. (No other settings needed.) 2, Bring into DaVinci Resolve which automatically converts it to a normalized REC.709 output. (No other settings needed.) 3. Adjust color or exposure a little bit to suit each clip. (No other settings needed.) 4. Render to DNxHD or HR 10-bit as a master file to be uploaded anywhere or encoded to small compressed files for whatever. OKAY - I'm sort of joking...a little bit. But not really. All those other lengthy complicated steps others listed? Yeah, I have to do all that stuff with my cameras that shoot compressed codecs too, but not with BMD RAW. Once you go RAW it is very....VERY hard to go back.