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Some new stuff im working on : All videoframes, im thinking of probably starting that stock footage thing sometime near.

Someone wanted to see what JPEG 15 fps image burst was compared to the HEVC, and to say the least the difference is massive not just in the dynamic range but the pure colour information presence in the images, now I have chosen to use 1080p to show the difference as much as possible because its not as noticeable in 2160p, the only difference at such high resolution is the dynamic range, now its clear that JPEG will always be superior to HEVC in 1080p mode and perhaps even in high resolution as well simply because they contain more information per frame. The JPEG have superior resolution as well compared to HEVC even in 1080p, both JPEG and HEVC have the same settings applied to them including sharpness. Both HEVC and JPEG where colour graded in After Effects using the GammaDR2LOG -> VisionLog - LOG Generic_FujiColor 200_CIN -> Cineon to Film Contrast 01 -> Lumetri Adjustments In camera settings used for both HEVC and JPEGs are: 1/100 - F/4 - ISO100 JPEG are super fine and resolution: 2048x1152 (Downsampled to 1080p in After Effects) HEVC are Pro quality and resolution: 1920x1080 GammaDR settings: Red X1.00 - Green X0.95 - Blue X1.00 Sharpness -10 Contrast -10 Luminance 16-235 Master Pedestal not touched Picture Style Normal settings: Red X1.00 - Green X0.95 - Blue X1.00 Sharpness -7 Contrast -10 HEVC LEFT - JPEG RIGHT GRADED TOP - UNGRADED BOTTOM I uploaded these files for everyone to try them out if they want to: 103_0326 - 100ISO - https://mega.nz/#!DctRFaIY!eMeqsd-3incYu2IqBZQGW7zINRtwwF8aKO8AFd1gixQ 2592p15 - 3200ISO - https://mega.nz/#!PN0zQIIQ!7tcNWhfTOKDsUYvqZNocFb9bpnMyChdTamdawx5gbzI 3648p15 - 4000ISO - https://mega.nz/#!WdFHkAgZ!8MoMydWK55KXkOnDLR5AlwFslkC4PjZ2YDr2LKSN8KY

http://***URL removed***/news/7168986570/canon-shows-dynamism-eos-80d-breaks-new-ground-for-canon-low-iso-dr I can't believe it. All the people are like wow it's incredible and a good news for 5D4 blabla. But I mean, just use the tool of DPreview and compare the 80D with D7200 or even D5500. It looks absolutely hideous in comparison, full of noise and false colours. Since when should we applaud a premium and very expensive company that makes an improvement compared to its own ridiculous products when they dont even meet the competition level of 2 years ago???

I think we all do that sometimes. It depends on interest. Some find researching cameras boring. Therefor they look at a video they like and buy the same. Im pretty sure people have based camera purchases based on what you own (of me to). I do the same with other stuff. I dont know jack about sports gear. I run, ski, skate and swim. But I hate researching the gear. So I go to some friends who compete all the way up in the Olympics and just ask them. What they say, I buy. More time for researching cameras, which I enjoy

I work in the trade show industry and everything Tupp said is correct. Also, don't be afraid to record people in your client's booth without their permission. Your client is renting that space and during that time, it is their property. You have every right to record people who enter their property... Just don't overthink it. Or worry too much about it Even though it seems to be a camera friendly show, during set up, you may want to refrain from recording other exhibitor's booths. A lot of these people are exhibiting products for the first time and they can be leery about unknown people standing in front of their booth, during set up and recording their material. As far as equipment... What you have is fine. The majority of hired videographers that show up at a trade shows have either a monopod or a small steady cam with a shiny Canon camera attached. So good 1080p is more than enough. And most have either a rode video Mic attached and plugged into their camera, or no mic at all. If you plan on doing floor interviews, just get a decent lav and plug it directly into the camera, or a recorder, your Shure will be perfect for this. Pick up one of those cheap Audio Technica or Azden lavs and you should be good to go. Just remember not to get in the salesman's way. You should be a fly on the wall and most of the time, not even in the booth and filming from the aisle with a small footprint. Don't bring too much gear because there will be nowhere in the booth for you to store it and you don't want to have to lug around a bunch of gear you don't need. Also, remember it will be warm in there, so dress accordingly. Show management and the convention center look for any way they can save money, which usually means turning the AC off every night and putting it back on a half hour before the show starts. With all of the lights and people, it can get pretty toasty. Good Luck!!!

Don't over-think this job. You are not shooting "Lawrence Of Arabia." On the other hand there are a few things to consider in regards to how trade shows work and on how to optimize the video coverage for your client. First of all, do not contact to the trade show management directly about anything. As an exhibitor, your client is a paying customer of the expo, and he is the one who should deal directly with the show management on all matters. You are not with the independent "press" -- you are hired by an exhibitor, and he will probably get you an exhibitor's badge. I have been to a few trade shows, and I have never heard of trade show management prohibiting an exhibitor from shooting his/her own booth. So, unless this expo is the "Anti-Paparazzi Con" or the "Paranoid, Secretive Espionage Agencies Con," don't sweat the lack of official permission to shoot. Secondly, your idea of shooting a time lapse of the booth set-up is nice, but keep in mind when choosing your camera position that things move around a lot and unexpectedly appear and disappear during a trade show set-up: fork lifts; man lifts; push carts; carpet (will eventually cover any bare concrete that you see); signs (erected from the floor and hung from the ceiling); and, of course, big, opaque booth walls will appear. You might have to move your camera out of the way at some point. It is probably wise to shoot some live coverage in your client's booth during set-up, but most of that footage will probably be dull, so there likely is no need to spend the entire day shooting set-up. The first day/morning of a trade show is usually the most active and exciting. Your client will probably want some shots of his booth full of attendees. So, be ready to shoot at the start of the first day. Don't get too big with your rigs -- be nimble so you don't miss anything. A camera with a zoom lens and a monopod are probably all that you need, perhaps along with a shotgun mic plugged into your separate recorder (the camera sound will grab anything off-camera). Look for interesting/positive interactions. Be mindful that the last day is usually the slowest (that morning might be good for sit-down interviews) and that, at tear down, most exhibitors want to pack up and go home.

Such a love/hate with this thing.

On my past trip to NYC, I edited all of my footage (hevc) natively in After Effects. I had no trouble at all editing and rendering my NX1 footage (finally no more converting!). https://youtu.be/0zN78OuY5Hs

12mm is pretty wide. I have a speedbooster on it that makes it nearly equivalent to a Super35 sensor, which is a field of view I'm more used to. and I have it rigged like this currently. when i go shoulder mounted the monitor gets rigged to the front with a Noga arm connected to two handles, and a shoulder pad slides onto those rear rods where the monitor is now. whole thing weighs roughly 7lbs and that's a fairly heavy lens on it. it's just enough weight to counter "micro jitters" without making it a beast to lug around.

I dig it, whats not to dig? This was quick and dirty while getting the GFs birthday present. Now I might focus on the LS300 for a while but then I will give the 1DC a run through. To early to say 100% but I suspect its the 5D3raw. But that includes a longer workflow. The 1DC I just drop in FCPX and go.

just my opinion, but yes, I haven't turned my GH4 on since November when I bought a Pocket. Just finished shooting a short doc with it. And now I have the Micro which I prefer in many ways to the Pocket. But yes, being that I was always finishing in 2K or 1080p, I don't miss the 4K so much. Would be great to have it all but color and DR come first if I have to choose.

I'm using an up-to-date Premiere Pro and nowadays it's no problem at all to work with hevc. the only thing premiere has difficulties with is reading the color range 0-255 from the NX1. if you got performance problems you probably just need hevc hardware decoding (intel skylake or nvidia 960 or 970 i think)

Andrew, bitrate has been hacked at 2.5K by Vasile. Need him to get back to tell us the method to do so. What I'm curious about is how is the rolling shutter in that mode? 2.5K + Samsung Color + great rolling shutter performance is a dream camera.

Thought it'd be fun to have an official topic for footage from the new Samsung hacks so it doesn't clutter up the hackers' topics and get lost in the shuffle. Anyone using the higher bitrate on the NX1 or the new 2.5K mode on the NX500? Veeeeeeeeery interested to see some samples from each.

as superb as @Brian Caldwell 's glass is, I've found that on nearly every speed booster I've used or modified the optical cell is usually not perfectly concentrically aligned in the metalwork. the small set screw that prevents the cell rotating pushes the optics off centre and also at an angle (skewed) meaning the projected image doesn't fall onto the sensor perfectly flat. so centre will be sharp and corners will be out of focus. - one side will be focused forward of the in focus middle and the other side will be focused behind the in focus middle area. my fix has been to remove the set screw all together, remove the lens cell, and then apply a heavier grease which fills the threads more effectively - this means the set screw is no longer needed since the cell wont rotate or move unless you physically adjust it by hand. if you want to see what I mean, follow metabones's instructions on how to adjust the back focus of the speed booster: http://www.metabones.com/article/of/infinity-adjustment-speed-booster-only you'll see that when you untighten/tighten the setting screw the cell will shift sideways as the screw makes contact with it. i think it's because the thread between the optical cell and the metabones adaptor metal work is a bit too loose allowing wobble/skew of the optics. The application of a heavy silicone based grease fills the thread up so the optic is perfectly centred. Only then do you obtain the best from the glass in these great adaptors Obviously without a locking screw the cell is prone to adjust through hand contact if you regularly remove and fit the adaptor, but if it remains on the camera all the time the cell won;t ever change its optimal position.

If something as trivial as that solves the overheating problem why didn't Sony solve it in the design? I'm skeptical!

Thank-you so much for all the replies!! My experience of these events is sorely limited, so I had no idea - I've been binging on other peoples footage all day but what you've written is absolutely gold for me! The con is Bodypower, all about fitness with an emphasis on massive muscles etc, I have a feeling most people will be fine with the cameras, I tend to err on the side of respectfulness, even when unnecessary. And, yes, more Sony batteries is on the list! Hoping to find them for less than RRP though, £50 a go is steep, but don't want to end up with fakes either! Ebrahim, I've got a nerve condition which results in fibromyalgia, and because I minimise my pain relief, I use a wheelchair to keep my mobility. For this event, because I won't have my son to look after, I'll be able to use the oramorph and that should see me through, and monopods make passable walking sticks! If you have any general tips for filming, at times when I can't use it, I would be really happy for all advice on this as well - I usually have 4-5 hours during school time to use my camera, and I am very motivated, but sometimes the pain or the difficulties in working from a chair just impede me too much. It's my dream to write, shoot and edit a movie, and I'm having a blast teaching myself the techniques and getting out there and giving it a go, but I just don't see a way to get beyond the writing stage at the minute, I don't feel it would be fair to get other people on board with a project, which I can't be sure of being physically up to following through!

A load of fuss over nothing. Any image where the shadows have been brought up in the raw files to the extent the are doing in the DPReview tests will look rubbish on every single camera out there apart from perhaps the Pentax 645Z with 50MP Sony CMOS. They are not measuring the USABLE dynamic range and by usable, I mean, good looking images.

You break out your Samsung NX1, and say, we can do that!

For peace of mind, might it be worthwhile getting a couple more Sony batteries for the A6300? They are small and easy to carry and their mere presence will be a comfort once you see the battery bars fading before your eyes. Remember a charger too!

Just remember not to exceed ~70 minute mark or the memory leak will corrupt your recording

Thats what I thought, but double checking it seems the SDI is alos 8-bit. Thats a bit of a bummer for those who need 10-bit. But given how much is produced in 8-bit with C100 and similar, personal, I would be ok. A great example was earlier in the thread, I dont pixel peep zoomed in with my face against the monitor. Neither does the audience.

No it's the full sensor. Don't think it's full pixel readout though.

Something I noticed, I have two bmpcc/ef speed boosters and one was soft in the corners while the other was barely so. Noticed this with my Sigma 18-35mm wide open. Have been using the sharper of the two on my Micro ever since noticing that. The soft-cornered one gets to chill with my Pocket.

Wow!! thank you!

Sorry if you already know this, but Metabones also makes CY/M43 Speedbooster http://www.metabones.com/products/details/MB_SPCY-m43-BM1

I just compared some DNGs from 4.6k in full resolution in addition to DNGs from BMPCC in last version Resolve 12 vs. RPP and found that Resolve improve their debayer algorithm compared to previous version! Aliasing became less visible and its now pixel to pixel same as VCDMF algorithm in RPP. Thats very huge step forward! Also maybe its a reason why Zak Forsman noticed less aliasing from Micro Cinema Camera when he test it. But the Highlights are still better handled and controlled in RPP. In more-less normal expose situations Resolve comes very close to RPP when use Davinci ACES workflow, but in extreme situations or when you need to recover a lot of underexposed shadows RPP looks way better and keeps more dynamic range. Hope developers add 3:1 and 4:1 DNG support to it.

i'm on windows. i see your point. new tech definitely needs some time to get widely adopted... let's just hope in a few years it will be as compatible as h264. in the meantime the only option is to convert the files before working with them, or hopefully someone can get some different encoding working on this firmware. only time will tell

How did you grade,because I wasn't able to replicate your problem with macro blocking, no matter how much I pushed? And if you get it, remember, this is 8-bit 4K just like a GH4, A7sii or something, they can't be treated as raw. And the camera does shoot 10-bit 4:2:2 if one really wants to grade. I won't make the decision if its worth to buy by looking at two clips, that seems pretty harsh. Specially since that means you pretty much only have the fs7, c300 and c300ii left to choose from.

Might be able to get a composite signal out of the BMMCC while shooting 60P. As of now, HDMI output is the same FPS as what's being shot. There is no option in the menu to change the output settings like most of the major mirrorless / DSLRs on the market. Looking to test the resolution of the composite to see if it's even worth shooting at. While testing, I switched to 60P to see what it would look like and I lost the video signal on the Zacucta EVF Pro. I had no way of resetting the FPS. At that point, I had to connect the BMMCC to a television to rest the FPS back to a recognizable video feed. Shooters need to be aware of this before embarking on an epic journey only to accidentally change frame rates and loose their video feed permanently. I wonder if there is a way to program a Custom Setting and simply hold the power button and another button at the same time in order to reset user prefs? If not, what are BM waiting for?

I dig it.

Thanks for your opinions, Zak and dbp! I wonder how the moire on the Micro compares to the Pocket.

Because it's completely normal to achieve clipped highlight level X a thousand percent. Yep.

Don't own the BMMCC, but I do own the pocket and GH4, so I figured I'd throw my 2 cents in if it helped. Image quality overall is better with the pocket. Solidly better in pro res, and a lot better in raw. I like using it more when I can. The GH4 has been very useful for the low rent jobs that I make my living on for a number of reasons. Battery life, ,memory card space and reframing with 4K in post being the biggest. I must say, coming from the GH2/GH4, I'm disappointed with the prevalence of moire with the BMPCC, particularly on wider detailed shots of architecture. I'm used to never worrying about it with the other two cameras, but it's often there with the pocket. Still though. I llike the pocket the most overall.

And if the client demands it, they can pay the rental fee.

Same here. Would be an instant back. If used properly, I seriously think the D16 has one of the most gorgeous images out there.. CCD goodness.

That is quite good but price wise it does not make much sense for NX1 or even GH4. Unless the hackers for NX1 can unlock huge MJPEG streams via the HDMI or RAW output, then external recorder would come in much handy to deal with huge data flows. H265 is still terrible for post production but I see they use it for streaming which makes a lot of sense, HEVC is great for streaming, awesome quality at low bitrate.

Totally agree. Even if an a7s, bmpcc, gh4, etc can outperform specs wise....you can't compete with the ease of use with the Canon C series. And professional clients love the image. You got to remember that once our images are delivered...nobody really gives a crap what you used to shoot on. As long as the shooting day went smoothly and the images look great thats all that matters. The ND's, XLR, Battery life, low light ability, and pleasing Canon Log all make it a great workhorse. Back to the original reason for this post tho...would love to test Fuji X-Pro 2 still and see how it performs in a professional scenario.

Hoping for a 4k ninja star or similar. Maybe GoPro will respond to the DJI X5R ... Time to finally put cineform raw to use. BMCC with the 15 stop sensor would be amazing

Hey Zak, As a GH4 user, what are your thoughts on switching over to the BMMCC? Are you happy trading the 4K resolution of the GH4 for the better color space and color science of the Blackmagic camera? Any noticeable increase in moire or other visual artifacting on the BMMCC as opposed to the GH4? I'm sitting on the fence right now trying to figure out if I should sell my GH4 and go for the BMMCC.

Hey guys, I made a clip for a band (all a7s, with external recorder). Now its on youtube, but the artefacts and macroblocking drive me crazy. Its much better on vimeo. I already rendered a version without grain and uploaded a h264 to youtube, that was a bit better than the prores 422 file who gave really weird artefacts. But its nothing close to what I have on vimeo. https://www.youtube.com/watch?v=Ms9vPG9qhaY&feature=youtu.be https://vimeo.com/155005760...... When I check out other videos on youtube like the beautiful Dear Brother film, I see nothing like what I have, even in the dark scenes. Anybody that can help me out here?

I wonder what HDMI_SIZE is?

I have it, it's a great lens, but not really made for 3D. First you are limited to effective T/6 "aperture", reduced resolution and interaxial distance is around 6-7mm (based on very rough tests). It works, it's just not that great for 3D alone.

Any shred of evidence that the camera involved in that shot is an actual c300 mark II. I just did the same thing with mine, and well...I'll let you decide whether there is a black sun phenomena or not.

Here is some 5D Mark III Raw that show its Dynamic Range. In the shot I closed the blinds behind me so the window infront is basically the only light source. So yeah, very much backlit. Same in camera settings on all, exposed with ND. In my examples I set the highlights and shadows the same on all, then I boosted the mids as far as I thought was somewhat usable. I used highlight recovery for the clips with blown highlights. No grading. (Please note that resolve interoperates WB wrong, so set it manually.) Number 1: ETTR, no highlights blown at all. Before After Number 2: ETTR Medium, some blown highlights outside, great job by the recovery. Before After Number 3: ETTR Low, Blew almost the entire window. Before After (look at them clouds returning ) The files: http://www.filedropper.com/justdngs Dropped a LUT on the last one just to give an idea. Not adjusted.

Try upscaling it to 4K and uploading again. That will give the HD file roughly tripple the bitrate. Works wonders for my videos at least. Just 1440p will double it but save some space/time.

Heres my current settings, this is my balance between retaining color and DR, making it easy to grade : These are : -10 sharpness, -2 Saturation, -3 Contrast +8 Black levels. OOC: Graded :

I started playing with photos because I realised that it can be more appropriate than recording video most of the time. I love the night, I love lightning storms, and I love the seaside. So this image is a scene that I am fond of. https://500px.com/R3dshift

Astral photography isn't the first thing I think of when I consider the type of photographer I am, but the experience of researching and going to this spot and tirelessly researching the techniques it took to get this shot I think really does sum me up. This is why I love this forum and what Andrew has done with EOSHD. I'm constantly reading what you all share and love the community aspect of being a creative person in this day and age. I very easily could've died getting this shot as I almost was bitten by a rattlesnake in the dark when helping another photographer with her camera settings. Makes it an even more memorable experience for me.