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that new grain plugin in 12.5 is pretty great. nice tight structure in the 35mm options. lots of control to dial in a look. I get masters to a lot of Hollywood releases through my bay and was always envious of the grain I'd see in them. This rivals that. Better than Film Convert's, imo.

http://***URL removed***/forums/post/57659433 http://***URL removed***/forums/post/57659433 regards :-)

I would be so awesome if knefinity did something like the bmpcc, like a small compact camera sized camera with a built in screen and the kineraw colour and codec.

I'd suggest as the producer he finds the extra $500 a day for an alexa mini and get his money's worth out of any anamorphics he's fitting to the camera (which will cost a lot more in rental than the camera). makes no sense renting anamorphics if you can't use their full image circle. a 3k image area on the ursa sensor is a 1.5x crop of an alexa mini in 4:3 mode! The $500 saving on camera rental is moot.

Here is a quick test with some rough grading. I just wanted to see how it reacted to being pushed and didnt fine tune, in other words, excpect ugly grades. I say it holds decently. This was also shot in auto mode. The Stills however does not need any grading at all imo.

Wow, Is there anything more pretentious someone trying to elevate their own importance by issuing awards. If it does have to win an award, it should be "most promising camera" As we haven't seen it working or seen footage from it.

There is no real hard limit to the bitrate of HEVC. Yes there is a maximum rate specified for each "level" of the standard, but that has nothing to do with the actual codec. What it really means is that all compatible HEVC decoders need to be able to decode at least 160mbit/s to meet the level 5.1 standard. That way any video that meets those specifications will play on any compliant decoder. It's a completely arbitrary number. No sane HEVC encoder cares about that part of the standard. It will happily spit out bits as fast as its algorithm and clock rate can keep up. The actual limit for a given piece of hardware or software depends on many things, but it almost certainly isn't exactly 160mbit/s. I hope that makes sense.

How to make VR porn: In other totally unrelated news.... I've just ordered all the parts for my own VR camera.

I recently got an Olympus Pen-F. The debate was between the Pen or a Fuji (x100t, xt1, x-pro1/2 etc). Ive always loved Fujifilm, even the small sensored X20 is an absolute joy to take stills with (to bad I needed wifi). The stuff I wanted was, Larger than 1" sensor Range Finder styled Awesome in camera colors Wifi The reason I got the Pen-F instead is because its almost as good a range finder as the Fujis. Plus it has incredible IBIS for video. And I already have lenses and adapters for m4/3. Both of them have problems in video regarding aliasing, but for the BTS and home videos I will use it for its fine. If the X-t2 do in fact get 4K, so I can get aliasing free video, then I will upgrade. Maybe I will keep both the Pen and the Fuji... who knows, have a few months to deside. Any who here is the very first video test I did. All shot handheld, in auto, no color correction or grading of any kind. Like I said, Im not gonna use this camera for any serious video, grading, etc. Its my stills camera. And for that I love it. Its got great handling, lovely sound (yes thats important) and the baked Monochrome 2 is so sweet I don't have to use raw. Some say the Monochrome 2 looks a lot like Kodak Tri-X. To my eyes its at least not far off. Here is a pic with actual Tri-X and an Olympus Trip 35. And here is a Monochrome 2 from the Pen-F

Even just a stripped-down Terra-like body with the innards of the Kinemini 4K for $1500 would kill. Shit, I'd buy two.

I have always been this "only one lens guy". Started with the Voigtländer 25, which happened by chance because i wanted a f0.95 for MFT. Learned to use MF and loved it. Then I wanted more, switched to an A7S with the Canon 35mm 2.0 IS - but the package was too big for me somehow. Now i went back to small via LX100 to RX100. And although i love both of these cameras and the versatility of a zoom lens, i have very mixed feelings. First of all, i absolutely hate fly-by-wire lenses. Full stop, they just suck - focus pulling is not really possible. I have shot many small clips with just that 25mm Voigt and I felt never limited. Nowadays i love to have a zoom but on the same time it makes me lazy and reduces my creativity. Seriously, the Voigtländer is the perfect lens, wasnt it a tad too big for me. On the other hand the size made it perfect for me. While filming i had both hands on the lens, since the GM1 weights nearly nothing. No need for any stabilisation, it just works. All-in-all, i love those packaged monsters like the RX100 and the LX100, however i do miss my GM1 combo with the Voigtländer. Always keep thinking of it. So much i might just buy it again and maybe this time with the GX80. And then i will never ever open this forum again, because it drives my GAS nuts.

for 1000$

Yup. At least I can recognize the problem. That's the first step. Now I've been thinking... What would I do if I only had one lens? So, I looked at all my footage. Used all my lenses that I love. Then looked at videos online. To be cliche, I watched a bunch of Kendy Ty's videos and thought... No seriously what if I only had one lens? Now I know I'll never be such a utilitarian to only have one lens. There's no reason to delude myself, but I think I could narrow it down to 10 or less and if I'm going to do that, I may as well go out with a bang and get a lens I've been admiring for a while... Voigtlander 25mm...

LMAO! Yeah, you've got it bad...

I have the 35 3.5 but then fell in love with f2 lenses. I patiently waited until I found a good price for the 35mm f2 and then 2 were listed on the same day... One for $90 and the other for $60. So I bought both, hoping one would be a good copy. I immediately fell in love with the lens, so I sold one of them but then the other day a brand new in box was listed for $250 or best offer. Since mine was a little beat up, I figured I'd throw an offer out there of $150... Sure enough he accepted it. This is the stuff I do and why I have over 50 lenses.

Hey Jonesy! Ted here from Aputure. Didn't get a chance to meet you at the show, but really glad that Jeremy could show you all the new tech. Thanks for the write-up and love. It really means a ton to us. If you don't already know about it, we're got a user group on facebook-- not unlike Black Magic -- where we collect feedback and discuss Aputure stuff. I want to start up a live-stream once a week where we can all discuss what you guys are looking for so we can keep making it. Cheers, Ted

I had to come up with about 50 of these for a project where they had the unlimited stock photo account but a very low budget. It got to be kind of fun, other than the deadline had me up til 2 and 3 AM. This kind of stuff can add to your billable hours - since most of us have decent computers, after effects and photoshop and AI, if you can learn character animation, animating charts and data, or basic animation of things like manufacturing processes… you can really add to your billing (more for one-man-band guys than studios with dedicated animators anyway), farm less stuff out, and have more tools for telling business stories for marketing videos.

would not recommend at all for vlogging, i have a a7 and the video auto focus is terrible, the screen cant go selfie mode and if you are in the wifi mirror mode to your smartphone you can only take pictures. No video.

yep, you can.

Speaking of the man... he just touched on that and uploaded this : It's interesting, we all thought the 80D was going to be the vlogger's dream, now it seems a partial nightmare.

It definitely needs a good source of light. If you're raising the exposure to look brighter than whats actually there it can cause problems. The 4K BMD cameras are the same. FPN can show up if you're boosting the shadows. Alot of us are used to great lowlight cameras (DSLRs, mirrorless) but I feel with V Log and BMD cameras you have to change that mindset and shoot in a more film style approach.

Used G7 might be your option

I've only gone for Super-Takumars, not the SMC ones: 24 f3.5, 35 f3.5 & 55 f1.8 (I had the 1.4, but the 1.8 is just as good & back then it was cheaper). The longer range ones are the pricey ones, or they used to be. But as i've said, i've curbed my addiction - only 4 anamorphics & 10 lenses left. Voitglander still sounds nice & the click to clickless aperture - well that might have sold me.

On a Mac? ProRes, no question.

I don't mind, overall, the focus peaking on the A7s though it's sometimes vague. Neither the VF nor the LCD screen are really big enough for peaking to be super useful. An external monitor will be better I don't believe you can use PlayMemories to pull focus. I've never tried, though.

Canon was talking way back of using the 1Dc 4K video for event (like wedding) stills, but I haven't seen much talk of photogs regularly using 4K video for photos. I had a chance to cover an AbilityFirst fundraiser walk today and for the first time covered the entire event with just video using NX1. I believe this kind of video-for-stills approach really opens up the possibility to capture moments with more life, making it ideal for events/photojournalism photography. Anyway, check out my photos if you're interested at AbilityFirst Walk. All the video was with the 16-50 S, DR gamma (-10 sharpness), and 1/125 or 1/250 shutter speed. Would love to hear about your experiences/thoughts on using video for stills with 4K.

Makes a lot of sense. The last part you wrote is totally true, figuring out how to achieve that, though, seems harder. This sums up my feelings on your short: http://www.shanesnow.com/blog/2014/9/6/why-its-hard-to-recognize-genius

1 Dracast LED1000 Pro Daylight and 1 Dracast LED1000 Pro BiColor . Solid construction however the Aputure render skin tones better.

With a client I make sure to specify in the contract how many rounds of notes there will be. Two is typical, some may ask for three. And for lower-budget projects we'll get it in writing that there will only be one round. It helps to make sure that when the client is giving you notes they actually have something to say, or that there's someone on the client side responsible for making sure that everyone who's supposed to weigh in does weigh in, and that person collates the notes more effectively. It is also good leverage to have it specified in a contract so that, for instance, each additional round of notes costs X, or each day of work on additional rounds costs X amount. Without having that break, some clients will go overboard asking for "little" changes again and again. You want to make sure that with notes they're really serious or their willing to pay to go over. It doesn't have to feel draconian. Sometimes a gentle reminder in the process can help prod the client to be focused, "we only have one more round of notes specified in the contract, so please make sure everyone has seen or weighed in." Specifying the number of rounds of notes also helps you bid, budget, and schedule jobs more effectively. With feedback on creative projects it is crucial to cultivate a group of people and/or collaborators whose taste you trust. Online, you never know what some bozo is going to say, especially if they have no connection to you or the project. Online feedback tends to be more negative, and people rarely balance positive feedback with negative as people who know you will tend to do. That said, you also don't want to only share the work with friends who will only tell you good things. That kind of echo chamber can be equally limiting. You should have specific points in the process where you're looking for feedback. After a polished first draft of a script, say, after a few more drafts. After a rough cut, etc. Sometimes, especially with personal projects, you're not always at a stage when feedback is necessary or useful. Be sure that you're confident that you're not wasting your (or the other person's) time when soliciting feedback. Like, you really just wanted someone to tell you that it's awesome and weren't really looking for notes. Sometime's it's even helpful to have a questionnaire: what did you think of this character? is the turkey joke working? what did you think of the end?, etc. so that you're targeting the feedback to areas of the project you're worried about or looking to improve. Again, I think the key is to cultivate a group of people with differing viewpoints, whose taste (and work) you trust to give feedback. It might not always be the same group for each project. Or for whatever stage you are in the project. But getting the right kind of feedback, at the right points in the process is essential to honing your ideas.

Zeiss Otus 28mm

I guess, you missed this bit or I wasn't being clear enough when I said, "Suppose it is a bedroom, and you have a multiple partner fantasy... Suppose you're a girl using VR porn... Use your imagination..." If that wasn't clear enough... since we are knee deep in it already... I guess I don't need to be coy about it. lol... suppose, you are a girl and you are put in doggy style, now which way are you looking?

Don't get LED fixtures. Get straight tungsten. The footcandle-per-dollar is generally better with tungsten as is the power-luminance density. Plus, focusable tungsten fixtures are significantly less expensive than their LED counterparts. Straight tungsten fixtures are probably the most versatile source, so they cover most lighting situations.

Been thinking of using Resolve to edit with as well as grade. It's just that FCPX is marvellous and most of my plugins will only work in it. (Red Giant, FXFactory Pro, Pixel Film Studios, Motionvfx, Coremelt, Crumplepop and others). Who makes decent plugins for DaVinci Resolve?

Originally bought a pocket cinema. Great camera but the 1080 mft image is really not my cup of tea. It has its moments in certain lighting but looks very low res at times. Bought the micro studio 4K shortly after along with the 1080p black magic video assist and was very impressed with the image. Looks fantastic for me as a cinematographer even though it's advertised as a broadcast camera. Just yesterday I purchased the 4K video assist and I'm hoping to start shooting 4K by next week. If it's as good as the 1080 video assist I expect my image quality to be superb. The only downside is that the micro 4K is terrible in low light. All I have is 1.4 glass and even with the metabones speed booster on it wide open (.95 equivalent aperture) it's really on the low side. I could never think to use it indoors with a 2.8 aperture lens. Even with my 1.4 it needs help with light for a proper exposure. i think I'll be ok. I just built a high cri 100w LED light that I'm going to be incorporating for indoor shooting. Overall considering its low light performance I am super impressed with th cam. Superbly sharp image and there is a ton of resolution. I am very happy with this investment. And having the ability to shoot 4K on UHSII SD cards is amazing! Makes it so much more cost effective and the small size form factor of everything is just awesome.

+10000, 40mm is the most natural focal lenght, it sits right at the spot were it changes from wideangle to tele.

Yeah, I was looking at those TV Noktons. This was meant to be a fun question, but as I was going through my gear, I thought... Why do I have all of these lenses? I do plan on making a short, or maybe even a no budget feature one day, but it's really just a hobby for me. Right now I have a ton of decent vintage lenses, but I usually only use the same 3 and they are all in the normal range in FF terms. If I thought about this yesterday, I would need 30 of my 50 lenses... Now I'm thinking 5 or 10 should do and I should get one really good lens... So I've been looking at a bunch of videos from the 25mm Voigtlander... Damn that's a nice lens.

4K is overrated. Especially since you started taking videos last week I wouldn't jump into a new camera just for that. For example I found the stabilization that EM1 offered was far more important in creating nice looking videos since my style is handheld with manual lenses. Others might have a need for good AF during video, or ability for a shallow DoF or lowlight performance or large dynamic range or .... All these things take time to find out and in the meantime 6D is a very capable camera that you can use to learn a lot. Shooting technique, framing, audio, editing etc can make a much much bigger difference than 4K. New cameras are always going to come and get cheaper & cheaper so no need to rush for something that you want but might not need... Anyways G7 is a great camera.

it doesnt have to be that setup. I could scrap the kits and get the 20mm 1.7 and something else

Good idea, the G7 is awesome. But be warned, after a few weeks with the G7, you may be eyeing the GH5 instead of the 5DIV. Just sayin...

Well, actually Zeiss did not invent this. It's a rebranded NiceDice LensGear and comes a bit cheaper: http://new.studio-afs.com/lensgear-en-2/ http://www.videodata.de/shop/products/de/Objektive/Sonstiges-Zubeh-246r/NiceDice-LensGear-Small.html

at the nab ikan announced new 3.5 monitor/evf with 4k support

Cineroid comes to mind. They're a little bulky for VFs but they can double as tiny monitors. Plus I think there's a high resolution one at a reasonable price.

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!

The thing I like most about Kinefinity is that they very obviously listen to what filmmakers want in their cameras. They've literally given everything you could ask for with the Terra, including a really decent, accessible price. Mother camera brands are largely segmented with their product range, and therefore got crippled one way or another - such as the FS5's "10 bit" 50mbps HD XAVC-L. Simply not good enough. Full frame with the KINE Enhancer too. This could be the best camera release in ages.

Why is the Pix E5H to much money? An extra $150 over the Atomos and better build, plus it now has the professional XLR inputs available.

GH4 over that one any day. Unless you need it for actual STUDIO work. But... I'm thinking not.

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.

hi guys. that's my quick little travel piece about a train in yangon. yes, the d16 is not the perfect camera (and I didn't even update the firmware then) but, like many people, you use different cameras or techniques for different purposes. I'm still amazed this thing exists, it fits in a large pocket, and it's simply a joy to use. the post production is a bit of a hassle but the images are magic. so take what you will..

Yeah, GH4 + VlogL + 10bit external is great in my opinion. If you're shooting any of the other color profiles it probably doesn't make much sense to go 10 bit.

Same old story. A company releases a product for the people that dont want a DSLR or Cinema Camera. And the people that want DSLRs or Cinema Cameras get uppset. And as usual lots of us simply wonder why? Is it so hard to understand that others might not need, use or want the same stuff as myself...? Why get upset? Why care? Im not speaking about this thread but more the turn we all know threads like this takes sometimes.