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btw... is filming someone welding/cutting metal the high end equivalent of making a "cat in the garden" demo video?

Lol you guys talk about thickness of the image like wine conocers talk about their drink. Please stop. You cant possibly make judgements lile this from a compressed web video. You need the raw footage in your hands and know about how it was lit, shot etc. Most people who use cameras like the gh4 arent setting up huge diffusers to soften 1k watt lights or even the sun. Thats really where the difference lays when you see footage from a 10k camera and from a 1k camera

Actually, I just thought of a great idea! Since you're based in Los Angeles as well, how about I swing by one of your shoots with a light? Coincidentally, the Aputure product manager and I are already doing a tour of film sets in Los Angeles anyways. Seems like you've done your homework on lights so you could give us your input and feedback, which would be invaluable. Likewise, regarding your questions, the product manager is better suited to have this kind of a discussion with you anyways. You can post your findings back here afterwards. Send me an email at ted.sim@aputure.com. Let's do this!

Music promotion for the german band: CORTEZ Made with Sony A7SM2, Leica Summicron (35, 50, 90) and the mighty Van Diemen Cine Iscorama M2. Enjoy!!

If I had the money I'd buy a 1DXII in a heartbeat. The image looks beautiful and in terms of usability, I love the form factor and touch + DPAF combo. Hoping some of this functionality makes its way to the 5d4

I really don't see anything in this short that isn't accessible to most Indies... We are not talking sweeping crane shots or even an octocopter ... Just good lighting and a gimbal or two on the riding shots. Even the editing and grading is fairly standard stuff.... Now when you see an expertly shot goPro video that has been smoothed and massaged to death, I fully agree... But this video doesn't seem like it is miselling what a $6k camera can do in the hands of someone who spends $6k on a camera.

I don't want to derail this topic but based on the Inazuma - mercer discussion: If you anyway produce for the web, how relevant is quality? I see so many "you can't judge by YouTube/VIMEO" comments on the web, when probably 95%+ of all footage ends exactly there. Reminds me of the photography discussion of "how many megapixel and how big can you print it" when 99.5% ends up on Instagram/Facebook/flickr/500px.

give the crew a $60k budget to shoot, and a $20k budget to pay for the edit/post for a promo video for the nex5n and the results would be just as awe inspiring. The level of production value on this video makes it impossible to judge the camera because in real instances with these budgets they'd just add another $2k for the rental of an Alexa Mini for the couple of days of shooting. $80k for 8bit acquisition and a lens mount incapable of using real cinema lenses, or $82k for arriraw acquisition and the ability to use cooke s4's.. Nothing more annoying than consumer advertising techniques selling a dream to people that they'll be using a dslr to shoot these types of projects.

It is indeed. Find yourself a guy cutting metal AND put some cats in the background and you'll have an unbeatable demo valued by everyone.

I am currently using 2 Aputure 672s lights on lightweight 10' stands with 43" shoot-through umbrellas mounted for SERIOUS run-and-gun stuff... I mean like we have from 10-minutes to maybe 30-minutes to get the shots before we get either nailed by security or flat out arrested. The guy carrying BOTH light fixtures may even have to climb over fences, etc., Using these Aputures was the only way this was going to work. And it surely does work. Killer.

The big issue would be the card melting into a sticky liquid inside the camera and... Kidding aside, I was at a bar one night and a client returned a SanDisk Extreme SD card (20mbs) I'd forgotten about. Stuck it in my jeans pocket (in the little plastic case - which isn't watertight or dustproof). Then we had drink after drink. Anyway, a few days later, I noticed an SD card sitting in the laundry room. My wife said, "Oh, that thing was in your pocket". It had gone through wash, rinse, and spin, and then into the dryer for an hour. On "cotton" or whatever. I took it to my desk, out of curiosity I wanted to test it before I threw it out. But… I got busy, and it got mixed into my other cards. I still shoot with it to this day, a year or more later (not fast enough for my current 4K, but it goes in the big Panasonic and my Nikons). I have no idea which card it is. Works fine though.

Thank to Kino Seed on dpr, here is great mod pack for nx500 with MENU for all options, so no more need for editing files to change settings! There are some key-combination changes: EV+... AEL: immediate hibernation UP: load UP profile DOWN: load DOWN profile Half-Press-Shutter: focus pull mobile: telnet EV: Main Menu ############# Main Menu - video birtates - custom functions - profiles - settings - hibernate - sleep Video Bitrates lists all set bitrates, and allows for changing them persistently (that means settings are kept even after camera restart) Custom Functions - focus stacking - focus buttons - batch recording (continuous recording) Profiles save/load UP or DOWN profile save/load FullBackup (all camera settings) Settings - Silent Shutter (nx500 only) - VGA to 2.5K (nx500 only) - Uninstall Mod NOTES: - for the moment this mod utilizes only the BT-patch (loading from Sdcard) - "checkbuttons" used for nx500 are not "holding" the preset values at the moment - options / buttons starting with a "-" are not yet implemented How to install: 1) start with a clean memory card (no files) 2) unzip the contents of the zip into the root of the sdcard 3) put card in camera, and restart x) to uninstall mod - from custom menu> settings> Uninstall Mod Download link _____________________ I've tried this one on NX1, it installs OK but does not apply any settings yet, need some bug-fixing. I think in nx500 it must work great. though. Please try it and share experience

shoot through pantyhose

~ http://www.ebay.com/itm/New-Genuine-Panasonic-VYK6B43-Eye-Cup-For-Lumix-DMC-GH3-GH4-Camera-/222001230060 VYK6B43

I've used 5d2RGB a lot. It does create an image in encoding that's slightly better than what QuickTime can do. It is a slow transcoding process, however. If proresHQ offers a better IQ than regular prores, I've not been able to see it. I'll also use proresLT at times to save hard drive space --depending on how much footage I'm trying to convert.

So my lingering questions are: If I transcoded to ProRes, can I expect my system to bog down less? Yes, you will be much happier! If I transcode, would I want to use 5DtoRGB which is said to have a very good 10bit conversion processor? ClipWrap and EditReady are much faster on the transcode. I already have ClipWrap and 5DtoRGB. 5DtoRGB worked great with my older GH2 AVC codec, with the Canon C100 AVC codec, I noticed little difference from the ClipWrap files and the 5DtoRGB files? I also recorded out of the C100 to my Nanoflash recorder ( XDCAM HD 422, 100mbs Long Gop ) the Nanoflash had a richer cleaner (less noise in the blacks) look. Also unless you are doing major VFX or color CC don't waste the space and go for ProRes 422. Broatch Berry Venice CA screamingdime.com

It's documented here... http://www.bmcuser.com/showthread.php?16955-BMD-rep-tells-me-my-Micro-Cinema-Camera-has-FPN-Should-I-send-it-in short version is, they acknowledged the FPN in the initial DNGs I sent them. did their own tests when I sent my camera in. said the camera was "normal". I sent more DNGs I had as well as a side by side comparison with my Pocket (same sensor, different hardware). said they could only replicate what i was seeing by boosting exposure in post two stops. however, which is confusing to me because my DNGs had zero post processing. Despite that, they offered to send me a replacement but didn't think it would make a difference. I agreed to roll the dice on a replacement, but I also doubt it will be any different. It should arrive today via Fedex.

Some NLEs will let you edit right from AVCHD (but they're basically rendering it in the background as I understand it). Opinions are various and often heated, but I'm a prores shop and transcode from the start. Makes it easier to share footage, and more seamless to jump from after effects, etc. I also very much prefer to trim files in MPEG Streamclip for effects or motion graphics vs. trimming in AE, and I tend to do that daily. So again, Prores is much more universal on a mac. And if your system doesn't have a lot of oomph, editing native will slow you down, where ProRes will crank through like melting butter on toast. I shoot AVCHD, H264 and H265 (NX1). I really dislike AVCHD since I can't go to the folder, see the clip I want, and grab it, insert it, trim it, effect it, whatever. it's a good format for shooting but I don't like it for post. Don't know about FilmConvert, but you can edit ProRes 1080 on a pre-2000 mac all day, full screen, full rez, no slowdowns unless you add a lot of filters or stack a bunch of titles and graphics. it's designed to run like a champ on a decent Mac. And you can recompress ProRes all day with no artifacts or visible loss. EditReady does a killer job with AVCHD, just drag the folder in, set your output folder, and make some coffee or whatever. You can also resize and conform frame rates at the same time. (FCP 6 and 7 also do a good job transcoding HVAC with their log and transfer windows). EditReady is well worth the fifty bucks and it will handle about anything you can throw at it, it's a robust piece of pro software, not like Rocky Mountains at all. A real workhorse. My workflow is "get back from the shoot, copy the raw card, transcode with Editready while I unpack or do invoicing or snort coke off a hooker's.." well, you get the idea. I don't return the cards to the cameras until the next day, after my backup has run, so I have the raw card and the ProRes on my system and my backup drives. Just my .02 but it's a very robust and versatile workflow.

^ prefect +1 Thanks! expensive, but a lot of really awesome stuff.

yeah, it's going to arrive today via fedex. looking forward to seeing how it compares to my first one.

Most decent cards should be fine when operating in temperatures from -13F to 185F (-25C to 85C) SanDisk Extreme PRO® SDHC™, SDXC™ UHS-II cards Specifications

Depends on how it is, if the card is so hot you get burns you probably should just stop with whatever you are doing imao. SD cards are generally designed to take take some serious punishment, they can survive up to 85 degrees Celsius which is pretty standard across any reputable card manufacturer. http://kb.sandisk.com/app/answers/detail/a_id/4687/~/sandisk-cards-environmental-tolerance-(waterproof,-temperature,-magnetic-and

It could even end in a preset, in between the Beach Sunset and the Autumn Leaves, the Welding in Workshop!!!

I can certainly understand the desire for C-Log, and it's a poor decision for Canon to leave it off their flagship model. No doubt that decision is going to cost them more than a few sales. Especially when one considers that Nikon includes log profiles on even entry level models. But that said I'm liking the motion cadence much more than my Sony A7Rii. To me this camera does not have that classic "film look"... rather it looks more like the modern take on what cinematic is evolving to be. I think the images out of it look great, and are very workable. This camera could be a serious tool for video production. The low light also looks good. It's clearly much more forgiving that a traditional cine camera would be under less than ideal lighting conditions. Another point is this thing is rugged... built like a tank, so no worries about needing to baby it. The camera is weather sealed also. For a gorilla style shooter, this camera could be ideal. IMO, this camera is looking like it might fit the bill as an all around tool. Great at video and stills. Loving the 14-16 fps stills mode. Auto-focus is epic in both stills and video. You can fly this bad boy and not worry about pulling focus. Yes, I would have taken a flip-out screen, two CFast slots... but most of all C-Log (Why no stinking C-Log Canon?) and 10 bit would have been very 2016 (well in this price range anyway). But in any case, I know of no other camera this versatile, while being able to shoot 4k 60p. The fact is most cinema cameras are also "permit cameras". The 1DX Mkii is much more discreet than say an Ursa Mini. I'm in for one. I've always loved the Canon look, and this 1DX Mkii seems like a workhorse and a serious pro level piece of kit. Mine should be in next week, I'll be happy to post a few frame grabs to let you know how it works out.

Me too, in most cases I don't need to shoot long, but rarely I do, and know that card is heating. So far it's no problem, just reminder to keep an eye, "if anything" Yes, that is correct. If you set up bluetooth hack before run bitrate hack - it's works this way, yes, you get 140 mbps without editing the nx-ba.gdb file

Hopefully the right balance of grading and custom settings will help get the best out of this camera... In that framegrab above, there is a good level of shadow detail in the clothing, the back wall etc... so maybe they were going for that look rather than protecting the highlights. I would have bought this camera if it had C-log though... Of all the frustrations around canon, not adding c-log to their flagship DSLR ranks the highest. Nice footage indeed, but knowing it could be 1 or 2 stops better is a punch in the face i'm not willing to take on a flagship model.

Interesting stuff Alex.

Thanks Alex. Good to know you're up for a challenge. I'll be in touch once I fully researched my options

You're not paying for the accessories. You're paying for the added monitoring features, like false color.

@Soul-Brother thanks! Can you provide 4kb tests also? For science @sandro here is the test footages, 15 sec each, just a roundtrip with camera and shaking 3 times with incresing intense. One is 50 mbps HQ 4K, other is 190 mbps

i never understood the criticisms of an artist mastering the tools they use.

Too risky for long form interviews and events, but for most other things why not roll out with two of these? You can just hand off the entire camera to your DIT or assistant to offload the footage, swap the battery, and let it cool while you use the other body. It's good to have a backup body anyways. You also have the option for 2 cam setups, or have one camera with a wide lens, another with a long. Or one on a gimbal, the other on sticks. Less setup. I guess a half hour limit doesn't seem like a huge problem because I remember when I had my RED w/ handle and it would last only like 20 minutes anyways (battery and media).

I use the 1/4 black pro mist to take the edge off sometimes. I like what it does for the highlights with rolloff and blooms. I got an 82mm one for 17.50 used

Not my clip, but impressive.

thanks, those settings got mentioned a couple time in this thread I believe. I own the 20mm and the 50mm 1.8 (cheap plastic version). both small, lightweight and convenient. I am a nikon d800 shooter so those are the only 2 I used and cannot compare them with other brands. Happy with them though. Gifs were too heavy and the quality was too bad so I had do opt for a looping youtube video instead. I uploaded the cinemagraphs here: https://www.behance.net/gallery/36514809/Cinemagraphs-Flavie-Lea Would appreciate your support by clicking the blue like button if you like them! here is a hd vs 4k screen grab (retouched)

and one of his recent posts basically claimed the MK2 with raw was one of the best "forgotten cameras" for cinema. EOSHD likes tech and gets excited by the latest specs, but that doesn't always equate to the most balanced review... once the dust settles. I traded my 5D3 for an A7s and have hated it since day one... Everyone is different though. As soon as I can shoot 1080/60p raw on a Canon, I will move back.