Leaderboard

I think calling Aputure the Blackmagic of lighting is an insult to Aputure... as Aputure actually deliver working products within a timely fashion;-) That said, I own the LS1-c's and can confirm that they DO NOT exhibit any of the patterning that most bi-color lights do. I attribute this to the unique honeycomb arrangement of the leds. Put simply, the LS1-c's rocks!

I currently use a Glidecam HD1000 with a GH4 + Olympus 12-40mm. In answer to your question, OP, I usually settle on a drop time of 2.5 seconds (timing it with phone not my fast voice =)). I like the solidarity of 2 seconds but like you say it's much harder to control up and down movements. However I dislike the more seesawing action of a 3 second balance when doing normal moves so halfway works for me. I personally don't see myself getting a MoVi etc. anytime soon. My work currently calls for small, reliable gear and the Glidecam fits the bill. It takes some patience to get a good balance but once it's in it's a rocky steady piece of gear and delivers some of my favourite shots.

How hard would it be to remove the block on the NX1 so that the Samsung Camera Manager app functions while using manual lenses? Would be great to have wireless live view while using non Samsung Glass. Thanks everyone! BTW, for anyone interested in developing, I am posting the link for accessing all NX1 firmware files again for ease of access. I usually grant access pretty quickly when a request comes in. Access the files here: https://drive.google.com/a/cmcfirm.com/folderview?id=0Bwt0uzFgEoRkQ2ZLOUJOM295UGM&usp=sharing The entire firmware history (v1.01, v1.10, v1.20, v1.21, v1.22, v1.30, v1.31, v1.32, and v1.40) for the NX1 is now archived in that link: Happy to help and really am impressed by what you all have accomplished thus far!

As someone with my 1DX Mkii order in, I can tell you my main gripe is the omission of c-log. Clearly this was a deliberate omissions, and a major disappointment, considering even entry level Nikons include a log profile. Seriously Canon... with a list price of $6400... no c-log? WTF?

So people are going to buy a Raven or Terra for Stills....

Yeah, the ringlight is easy to find or even make cheaper...but the reflective 8x8 foot backing material is where most of that $1900 goes on. It's a super reflective 3M scotchlite type fabric material that reflects about 95% of the light directly back to the source, so when the green or blue light from the ring light hits it - it gets re-directed back into the lens (on same axis) as a shadowless solid green or blue reflection of light, thus giving a clean key for post. you can buy scotchlite reflective fabric, but it always seems to be in smaller rolls, and not easy to patch together into a seamless background. you can also buy paint with similar properties, but needs to be thinned and sprayed properly on a flat surface. If you got some scotchlite tape and wrapped it around a pole and swung it around, you'd have a lightsaber effect when filming it with a ring light attached to your camera lens (basically same front-projection principle of how they shot the sabres in Star Wars: A New Hope)

It made a list http://www.redsharknews.com/production/item/3427-redshark-nab-awards-the-results

The LS1 is next on my shopping list. I've read/watched a ton of reviews and they seem to have nothing but praise.

Maybe I should add to this whole subject, that I don't always need or seek the newest tech solutions. Below is my current "focus assist". As everyone clearly can see this is as low-tech as can be. A cheap $20 loupe, a piece of cycle tire rubber and some velcro. (An old picture with my G6, but I still use it on my GH4). You just wipe the rubber around the monitor and you are ready to go . Works like a charm, diopter enlarges x3 and yes I see pixels and the cheap diopter distorts quite a bit, but I can nail focus every time and that's what matters. The thing is, I´m afraid that the monitors hinge will break some day.

I see where you are coming from. My kind of thinking was along the lines that when monitors reach a certain quality level of sharpness/resolution/contrast and so on, we reach some point where we don't need more of that sharpness/resolution/contrast and so on. Well, maybe we have not reached that point yet. About the outdated tech, - yes, I have been around that too. In fact I have considered the new Aputure VS Fine, which- as you say - has much better resolution than the old one. I'm thinking along the same lines. I would indeed prefer a 5" for its small size, but I¨m afraid it will not fulfill my main purpose being a great tool for focusing,

They are a superb company. I own the Lightstorm LS & 2 Lightstorm LS 1/2 and they are well build and powerful. I run them off Sony batteries via a V-mount which gives them enough juice for a couple of hours. Can't wait to see what they come up with next.

Not sure how wide of a shot you'll be getting, but if you could get a giant piece of foam board to hang above and bounce a couple of 1K's off of that for a really flat illumination, then use some 300w or 650w fresnels to shape the actors and create some hard light. That way your dark areas are pitch black.

The D3 sounds promising. Something I might actually add to my setup as a backup (or even as a main mic).

I see that it won new camera award from news shooter.

It always sways when you pick it up, it's just using the light pinch of the fingers around the gimbal keep it where you want it. It'll come in time with practice. It's some zen like control that develops. Then you starting sprinting with it.

There is an easy way to always have a reference shot - and not a still image, but a live piece of footage - open in FCP when you want that. You make/grade your reference shot(s), put them in a library (which you could call "ColorRef") within your working event. Then just open the event viewer and put your ref. shot in there. Then you have a constant reference to the left in the event viewer and can compare the rest of your footage to that in the player to the right, It would be nice to have nodes. The best way for me to "copy" this in FCP is to save a preset including the different plugins and their settings for the reference shot. Then it is pretty easy to make these settings available for all shot in the timeline and make adjustments when nessecary.

Peaking a complete waste of time when you're using the Bolex as a focus through, especially @ f4 - viewfinder is the way to go. You need to get used to focusing by eye - TBH i've never liked focus peaking, just don't trust it at all, for anything. I use a cheap £10 one from amazon - there are more expensive ones out there, its your choice. A tip: if you're doing a lot of racking, then its best to use a lens with a long focus throw.

I was really hoping for a 4k ninja star annoucement... I own an a7S and I mostly do Run and Gun shooting, you may think I'm crazy, but i'm on the edge of buying an 4k external monitor/recorder to put it in a backpack/or attached on belt, screen turned off. And occasionaly use it as a monitor too. My concern with this method is overheating, especially in a bag! It kills the purpose of being low profile with a backpack on fire! Is it possible, or is it completely stupid ? If possible, which recorder would be the best (atomos assassin or pix-e5h or this BM 4K) ? Thanks!

in principle it is possible.

they'll sell more of these to be used as directors viewfinders / recon scouting cameras on high end productions than you'll see ravens or terras used in high end sets. The best dop's are usually very accomplished stills photographers and will lap this up - if only for the leica badge. If L-Log and the sensor readout is good then this will be rather popular for actual productions too. - adaptability of lens mount, and a sensor size that will render closer representation of the fov/dof of a RED 8K Weapon or Alexa65 then current offerings. - if kipon produce a SL mount version of their MF focal reducer things get even more suitable for use as a scout cam for the alexa65

Seems to be alot of people saying "this camera i've never used" is way better than "this camera i've never used".

+1 I love the Lighstorm. Planning on getting the fresnel. The bi-color does exhibit grid pattern if you don't diffuse the light AT ALL. But I always have at least a tiny layer of diffusion over it in and it solves the problem. This looks like the Briese 140, which is the industry standard for beauty lighting on commercials: http://www.brieselichttechnik.de/en/daylight/products-overview/focus/focus-140.html

Is there some way to only let Vasele, Otto and the other hackers post here... Then the rest of us can comment in the main thread?

We use the LS-1S, LS-1/2 (97 CRI), 528W, 528S, and H198, in daylight color. They all work great, especially for skin tones (better than our more expensive Dracast LEDs, which are only used for bounce/back fill now). Look forward to seeing the variable spot/Fresnels from Aputure (we use a Fiilex P360EX- very nice but not variable beam angle or very bright (can swap in/out the plastic Fresnel insert).

LOL so hard that they have a pic of an EX3 in the B&H photo

Even accepting your point, I could get a Kinemini 4K package AND a used 1DC for the same price as this Leica and a Ninja Assassin.

I still find it weird.

Less than an A7R II? Good luck.

$7.5K plus another $1-2K for an external recorder to get 10-bit 422. Yea, I'd rather look somewhere else.

Heres a few snapshots from the D16

Not at all, for a few bucks more I can buy a Red Raven, I can`t believe somebody will pay US7,500 for this camera, there are so many better options with better prices out there…..

H Hi, - it's been a long time :-). The short answer to your question: if you want both the easy way and the option to dig deeper get both FilmConvert and ColorFinale. The long(er) answer: Well, well, - it all depends. As a matter of fact I also have the fairly new CoreMelt LUTx and have demoed the KojiColor. They all have their weak and strong points. If you want good looking results, quickly and without much hassle - with LUTs - I think FilmConvert is a great solution. It has few LUTs, they are all good though, but FilmConvert can't load thirdparty LUTs. You can dig deeper in ColorFinale - due to the added curves, vectors and the layers, but ColorFinale has no LUTs preview function, - you have to add the LUT to see the result. The new $49 upgrade should include the option though. ColorFinale can load third party or your own custom LUTs I would say ColorFinale is a much better grading tool if you want to develop your own grades than FimConvert, - it is really good for both primary and secondary corrections. If it had masking tools it would be close to perfect. I find the color wheels are difficult to adjust though, but that might just be me. If you want to mess around with lots of LUTs CoreMelt LUTx has great preview options and nice browser functions for organizing all the LUTs in the world. Has also pretty good color adjustment tools. KojiColor like FilmConvert has few but well executed LUTs and some nice color adjustment features. Does not load third party LUTs. EDIT: If I should choose only one I would take ColorFinale. After spending a great deal of time lately with all the above plugins I think in the feature I´ll try and make my own style of "looks" and for that purpose ColorFinale is a better tool.

I have the Bolex Moller 8/19/1.5 and use it with a Rectilux and it’s very sharp indeed. Particularly if I add on a Tokina Achromat 0.4, and good lighting. Hair on the nose sharp. Focus wise, it's very good although I cannot use a follow focus with the Rectilux because the whole focus ring moves in and out as you pull focus. Before I had the Rectilux, I actually didn't pull focus. What I did was set my focal point and stay there until it was time for a new shot, using hand-held and moving the camera back and forth (slowly) to readjust focus. Run n gun. The $300 MustHD monitor is good because it’s cheap and you can record and play back at the 1.5 aspect ratio of the Bolex. Very cool. Now all I need is a project to shoot!

Hmm focus-throughs always seemed sketchy to me. But if it works at f4 and is sharp throughout the range, then go with it!

I wouldn't dismiss the technology until it's been experienced. I remember seeing Avatar in 3D on the IMAX, and although the story left a lot to be desired, the visual experience was outstanding at the time. Move seen 3D films since that just look a bit warped and frankly, stuck on as a gimmick. So I don't bother with them anymore. Hobbit was the worst thing ever in 48fps. I don't know why they thought that looked good. It really didn't. Let's give Ang a chance though, who knows eh? I'm all up for extending the experience to new levels. As long as story comes first

sadly imho only one answer : practicing!

my thinking is that companies are less inclined to make big announcements at these big events, where the noise levels are too high... With the internet, they can make a huge splash at any time of the year now.

I haven't finished this cut, but here are some screens from a dance film I shot in a few months back which I test-graded. I tend to like the grain and flare. This was pre-firmware update. mostly shot on the cine nikkor 10mm and a small agne zoom. Hopefully I'll have some time to finish the edit soon... also attached is a screen of my setup. as you can see it's pretty minimal, basically nothing. the d16 with grip and cine nikkor 10mm. I attach a small sony shotgun to the top sometimes, and I have one of those rapid straps attached to the base so I can wear the camera if needed. The strap comes with a plate which has an extra screw mount I sometimes attach a monitor/magic arm to, but generally I shoot just by judging the exposure and focus from the (very bad) lcd screen.

This is one of those - lets see what this looks like. After all "life" goes by faster then 24fps.

Battle-Tested (used) KineMINI 4K From $2,499 4K 12bit RAW http://www.kinefinity.com/shop/kinemini-battle-tested/?lang=en

I've got a Came carbon-fiber, pretty simple model, no battery rig at the bottom. As far as operating, yeah, you need tons of practice, but I've gotten very useful shots, corporate gigs, b-roll stuff. I can't imagine it being any better for what it is, very well constructed and smooth, quality piece of gear. I've balanced it pretty quickly to different cameras, lately I find the NX1 with the tiny 16-50 kit lens to be excellent on it with the optical OIS turned on, sometimes even use the AF. I use the manfrotto release plates everywhere, I had to mount one to a little plywood block so the release knob would clear the release lock on the Came, but I can switch from sticks or shoulder to steadicam in a flash and give the balance a quick tweak. I skip the matte box and use screw-in ND on the kit lens, I just got a 52mm step ring and a rubber hood for it. 52mm filters are all over the place, whatever flavor you want can be found pretty cheap. Generally for steadicam you shoot wide and stopped down so I haven't had a reason to stick any big glass on the thing and the Samsung kit's an impressive little lens. I haven't looked seriously at gimbals due to the expense and hassle factors, but they are coming down in price and the usability bugs seem to be getting ironed out. Gimbals are, to some extent, like drones. Drones are just killer to cheaply get very high-dollar shots, like huge crane moves and helicopter stuff. But most drone ops are like "look at all the stuff this can do" and suddenly a classic cinematic move starts screaming "look!!! I'm a drone!!" Gimbals aren't quite as bad in that regard, if someone executes a well planned shot - the clip that sold so many on gimbals was the roller blader with the taxi cab shot, a good example of shot design that's exciting but not something that would pull the viewer out of the scene. To me the gimbals seem like the kind of thing where I'd rather just hire an op that knows it well and cans et it up quickly. My brain is too full...

Never shot a timelapse on the BMPCC, let alone in ProRes. Experimented in upscaling some of the footage by 100%, in order to zoom in - its possible but has its limits. Looks Ok on a phone or tablet, but you'll notice the zoomed in bits on a computer. Oh, wasn't mean to look too sharp - just in case any sharp freaks watch this!

I doubt if the word “surprise” exist in their dictionary. Up to 2016,Canon still using their 8 years old CMOS and processor for T6 DSLR. And it doesn't surprise me at all.

Yes, Motion JPEG with high bitrate is far superior to HEVC and there is a Motion JPEG codec in the NX1 already for the 480p mode, Chant said he would look into it for me regarding the increase of resolution and possibly bitrate. It was a good move by Samsung to include the Motion JPEG codec besides the HEVC