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nx-patch v5.3 is out. One point of interest to videographers: killall switch added which basically returns camera to factory settings (until battery pull) EXCEPT for the already set bitrates. Pull battery to reactivate mod UI.

Would love to get in touch with them and check what they are doing with it, maybe give them some footage for beta testing! Anyway, hase been testing some filmconvert grades : Still not totally happy with it, but they do look quite filmic imo, and they seem less agressive than some luts I usually use.

:-) well, it does exactly what it says on the tin, nothing less, nothing more :-). And yes, this is my objective: make it seamless as much as possible because bluetooth becomes real tedious real quick (well, that's actually a lie, actually my main real purpose is to get my 16-50S but not there yet)...

Lumix GX80 + a vintage lens. Highly cropped photo. No sharpness in post. Press on the photo to see true colors and detail.

Finally, It was long and painful but I made it after 2 years of work. Here is my Miami video. Enjoy Unlike cities such as New York, Paris or Dubai, no one ever did a real hyperlapse video of Miami so I had to fix this. I started this project 2 years ago with hyperlapse experimentation. My first attempts were very bad and most sequence went to the trash bin. It took me a while to capture the hyperlapse sequence correctly (must be very very accurate) and then do the post-stabiliation frame by frame. Hyperlapse is very time consuming. In average, one second of video takes 1 or 2 hours of work and I don't even count the failed attempts (either I fucked up, light was wrong or something/someone messed with my sequence on site). Techniques: The video is 75% hyperlapse, 5% timelapse and 20% drone and aerial (rented plane and helicopter). I had a massive volume of video and photo (RAW of course) and I only used the tip of the iceberg. I failed many times during my learning process but I now master the most complex type of sequence such as HDR Hyperlapse of Holy Grail Hyperlapse. Gears and software: Here is what I used: ► Hardware: - DJI Phantom 3 Pro with Mars Lite & Mayday Board - TBS Discovery Pro with custom GoPro 4 lens - Polar Pro Filters - Dynamic Perception Stage One & Stage R with NMX controller - Panasonic GH4, Lumix 12-35 f/2.8, Canon FD 50mm f/1.4 and custom made gimbal (Alexmos) - Canon 6D, Samyang 14mm f/2.8, Sigma 24 & 35mm f/1.4 Art, Canon EF 50 f/1.4, Canon EF 24-105mm f/4L, - Cessna 172 & Bell-206 ► Software: - Adobe Premiere & After Effects - Adobe Lightroom - LRTimelapse 4 - SNS-HDR Pro How many pictures ? Honestly I have no idea of the number of pictures taken and I find this point completely irrelevant. The number of shots and TB of hard drive is not a good metric and does not give any indication regarding the quality of the final video. What I can tell is that I finally achieved a good ratio of shooting attempts / keeper sequence. When I started hyperlapse I had to discard 80% of my sequence, now I can keep 70-80% of my clips. I also have a lot of unused sequence that I shot but didn't make it to the final video. I prefer to squeeze the best out of my project and not fall into the trap of "clips stacking" for the sake of it. This video is already long with its 4 minutes duration. Aerial Shots & Safety I used a DJI Phantom 3 Pro for the aerial shots along with a TBS Discovery Pro fitted with a GoPro 4 black. I modded the lens in order to get a longer focal. Some shots were taken from airplane (C-172) and I also rented a Helicopter (Bell-206). In terms of safety, the drone shots were line of sight only and below 400 feet following the AMA & FAA guidlines. 90% of the drone flight occurred over the water even if it's not visible because of the framing. For the remaining 10%, I flew over parks and empty area with the Phantom. I follow a precise scouting of the place before each flight and perform a thorough checklist. And because shit happens, I also installed a Mars Lite parachute with a North UAV Mayday board (special thanks to Kyle) on the Phantom in order to prevent any damage/injury is something goes wrong. Last, I had to notify the airport manager in some places before my flights and I stayed away from Class B airspace of Miami (I couldn't get clearance despite my request). Special Thanks and Credits: ► Intro & Opening tittle by michaelcparadise.com/ ► Music: Daft Punk - Derezzed (The Glitch Mob Remix) theglitchmob.com/ facebook.com/theglitchmobmusic instagram.com/theglitchmob/ twitter.com/theglitchmob soundcloud.com/theglitchmob ► Special thanks: It would be hard to detail the list of all the people involved in this video but here are the main one who inspired or helped me to make this project: Artem Pryadko / Zweizwei, Aaron Priest, Dimid, Gunther creator of LRTimelapse, Jeff Colhoun, Jay Burlage & Dynamic Perception, Marco from Timelapse Network, Team BlackSheep, Aufmschlau, b-zOOmi, Keith Loutit, Dustin Farrell, Rob Whitworth, Dominic Boudreault, Michelle, Guille, Mariana, etc. You can also follow me at: facebook.com/Oliver-KMIA-1622032868057530 instagram.com/oliverkmia/ twitter.com/OliverKMIA Some behind the scene photo

I'm getting a 1DC AND a C100 mkii. Yay!!! Haha. Thanks guys for your help. I'm super pumped. I didn't know this about the c100 mk2. A much better camera than the c300 for sure. SDI is an important thing and honestly you forgot to mention three other things that I love about it: 1. the backlit LCD on the back that shows audio levels and all your important info. 2. The control dials that are everyone on it. 3. The headphone control on the side of the body (although I may map the two function buttons on the c100 m2 to be that.) I think by having both the c100 m2 and a 1dc I'll have everything I need for the next year at least. 1dc for gimbal work and 4K for narrative content. C100 m2 for doc stuff and interviews where we need internal audio. Plus 1dc for Timelapse and professional stills!

So, I finally decided to buy FilmConvert. I'm loving it so far.

Now I got it and I agree! If I get you right you are trying to create an amateurish yesterdays lofi look. Which some people could remind on small gauge film. This approach is often used for documentaries or musicclips I think. And in 20 years you are maybe after that feeling of the beginning of the century with its iphone footage in funny aspect ratio... (Btw the problem is no one can fake the projection. I own two blurays and a shelf full of super 8 Feature films - I am really into cinema)

Ok, here is the cropping of the previous photo.

Most museums do not allow tripods, monopods or gimbals (or selfie sticks). So camera/lens stabilization is essential. A museum video captures the experience of being at a museum - you see the exhibits, the space itself, and the people. Getting the colors right, for the art, is also essential. So, a good test for a camera. One oddity here is that the space was sunlit from above (skylights), and the sun was moving in and out of clouds - so the light changes in some shots. It's not the camera. Part of the true experience.

Exotic and beautiful work. Were you using a fast shutter instead of ND on this?

One of the Rode 2016 finalists used a Panasonic GH2: http://www.rode.com/myrodereel/watch/entry/2564 https://www.youtube.com/watch?v=o7caTq63QKA https://www.youtube.com/watch?v=8DYPAIlduk8

By all means, if you finish the thing and are proud of it, and it doesn't interfere with your film fest ambitions, go out of your way to arrange a screening at a local theater. You can't replicate the cinema experience any other way. It's a bit of work but always a lot of fun since you'll probably pack the place with friends and family. BTW, some theaters that knows attendance will be high and will often embrace a one-off showing of a local film. I made an absolutely horrible horror film years ago. The biggest redeeming thing about the whole process was the ridiculous opening night!

Look at the shorts that were accepted into past festival years, and then be honest with yourself. Some of the 1st tier festivals have shorts playing in them with a hundred thousand dollar budgets shot on Alexas. Now that doesn't mean your short wouldn't do well at such a festival, but if you look at the competition from previous years, you can sometimes gauge what type of material they're looking for. Or if you want a good gauge of your short, you can always enter it smaller international or foreign festivals as that usually has no affect on the US premiere that the majors are after. Or you could also show it here with a password protected link to get some opinions, then ask for PM critiques.

I started already (but will be away until Aug)- see here for details.

IMHO (random order, except 1): 1. First let an unbiased friend, preferably with some film knowledge judge your film, for what can be re-worked on, in post (sound, editing, effects, etc). 2. Work on what needs to be worked on above. 3. Send it to one of the Big Film Festivals. Nothing like a Big name to a Film Project. 4. Make a list of All Film Festivals based on the time of the year, and on entry fee. Lots of them are free, and they could be a gr8 place to start. After your film does a round of one of the Big Festivals. 5. Don't put it out on the Internet or sent it to Film Festivals if you wanna send it to the Bigger Ones. 6. Read applicable rules, and send it across. 7. Send it to as many Film Festivals, As Possible. 8. Try to en-cash on the Film Festival names (if selected). Create a commercial model around your film (vimeo/ amazon/ iTunes etc), or just put it on YouTube, and try and make money from the views (dunno how much they pay). 9. Show your film around your town, at some small theatre. Try and make everyone you know see it. Best of Luck.

IMO, that comment is what makes FCPX so damn special, especially if you ever used iMovie HD. To me it seems like they took the best parts of FCP7 and iMovie HD and created this amazing hybrid. It's not for everyone, but I can appreciate it.

Thank you. Little corrections were made only for contrast and shadows (down) in post. After a little practice with the camera, I think, this could even be done in the camera, after tweaking the curve.

To be clear i got answer from Tessive support. So maybe will do some tests today with this plugin today. I also tested 60fps on BMMCC yesterday and there is a problem. When you shoot with 60fps/360shutter and then conform to 24 fps, the rolling shutter seems becames 2.5 times more stronger too.

I was looking at the price of the 4K... So good call. But the weight and cards aren't really an issue since he's considering a used C300. And I really don't see how turning some external ND filters could possibly be a deal breaker, but I do agree that the C100 mkii is the best choice.

That would be the absolute worst camera in this price range for the stated needs... no NDs, super high media and power costs, heavy, and he wouldn't even be able to get it up and running for less than $6K anyways. It sounds like the C100II would be the best option, maybe with a recorder for slower shoots. C300 doesn't seem at all worth it with the C100II still being cheaper. FS5 being a close second, or even first pick, depending on how important super slo-mo and 4K is to you. Or how useful the variable ND would be on your docs (I imagine in bright sunny Mexico, seamlessly moving from inside to outside without skipping a beat or going super-deep-DOF, would be pretty useful).

Incredible work, thank you for committing to making this! I loved the skyline shots especially when they changed from day to night. I'm a Miami local who spends a lot of time in these areas shooting video... great to see it this way. I'm really amazed how much time must have gone into this, definitely something to be proud of on its own. The final drone shot with the plane flying in was a nice touch too. I do a lot of drone flying around downtown and Miami Beach, but would eventually like to do some aerial out of a helicopter... Any advice on that? Either technique or who to go with for the service. I have a ronin M for stabilization and a GH4 with a speedbooster that works out to a 1.5x crop... Not sure which focal lengths I would bring especially considering I wouldn't be able to rebalance midflight. Would you need a special permit or training to film with this setup for non commercial purposes? Any help would be great, thanks... And once again, incredible job on this video.

I'm really big on 4k, but truth is C100 Mark II has a 4k sensor that simply downsizes to 1080p in camera and has beautiful quality. C100 Mark II recently dropped as most people are aware and I think it's as of today one of the better options http://www.bhphotovideo.com/c/search?Ntt=c100+mark+II&N=0&InitialSearch=yes&sts=ma&Top+Nav-Search=

You're welcome. Actually I totally agree, It would be hard to commercialize this kind of shooting due to the time it takes. I'll have to charge a lot of money for a very short sequence. But it's ok because I'm just an amateur. I don't do photography and video professionally, it's only a hobby for me. Just for for fun when I have time. That being said, I think that I've now reached the level of "advanced amateur"

I came up with a similar option... I took a cheap half cage made for the pocket and attached it to the micro (they have the same height dimensions) and then attached a Slik quick release base to the top of the cage and the plate to the bottom of the monitor. Then I used a manfrotto quick release plate on the bottom of the cage and attached the base to a cheap L-Bracket... This way I can go handheld or attach it to my manfrotto tripod. It's still a little too clunky for my taste, so I may sell the Ikan 5" monitor and pick up the newly released 3.5" monitor. I also need to figure out a way to attach a neck strap to it.

I agree for the most part, although 1.79x is a good alternative to 2x, since it is more efficient and in a good implementation actually looks more anamorphic than many 2x lenses.

I did a couple of experiments to see how good is the DPAF in the 1Dx II. Youth girl running in front of me while running with the Ronin M, Face tracking, Canon 50 1.2 at 1.2 (shutter speed was 1/3200 to rule out any motion blur while evaluating frame by frame focus). Screen grab: Youth girl playing tennis from a tripod using Face tracking AF with a Canon 85mm 1.8 at 1.8 (shutter speed was 1/4000 to rule out any motion blur while evaluating frame by frame focus). Screen grab: If the face is visible the AF really sticks to it. In both video the face was in focus for during the whole video length. Naturally face tracking does not work well or not at all for lateral shoots. I will soon test it with an adult athlete but so far I’m quite impressed.

I second that the mini Panny zooms are great for the price and size. Havent tested them on my GX85 yet, but here is a couple of shots with the GM1 and the 35-100mm.

ok ok - maybe I'll give the 12-32 a chance then ! cheers it seems near silent with it's OIS at least - unlike my 14-140 II - so may get around the annoyance I have of very loud background noise when taking video with the 14-140 ...

The "toy" kit, with super performance:

Having a decent script is awesome. It's always a challenge to make a great movie, regardless of a strong written foundation. Hope you can pull it off! Regarding Vimeo: my wife and I made a very very modest documentary that we put on Vimeo, and we see a trickle of income from it. We've never bothered to promote it, but it's a topic that has a niche so orders keep floating in. If you hook into a supporting community, they will prop you up a little bit, which is certainly nice. If you think your film is good enough for the upper echelon film festivals, then yeah, give it a shot. As an active member of a small SoCal film fest I can tell you, we're desperate for films with a creative POV, from filmmakers that have an actual voice. There's plenty of decently crafted films that we see, (because of the democratization of production gear) but not a heck of a lot that are truly accomplished with compelling and creative cinematic storytelling. I'll be completely honest here (so don't tell anyone I wrote this) --it's personally a bit frustrating to screen some of the films we screen. But ultimately that's cool. That's all part of it. My tastes in film doesn't exactly jibe with the rest of our selection committee's POV. To put it diplomatically: We're "diverse." To state it realistically: We put average films in the festival. 1. because we need the programming. 2. particular topics, rather than cinematic creativity, will appeal to our selection committee. (This is not necessarily a bad thing, I'm just acknowledging a typical situation of film fests) As it happens, almost all good films that get submitted to our festival will get into our festival. (there's some ideological politics involved as well that go into the submission decisions --that's the nature of a committee) But, be that as it may, we're a film festival that's incredibly embraced by our community. Every single screening during our 5 day festival sees attendance of 150-200 people...and this is in a proper theatre venue that officially seats 185. So, if you ever get accepted to film festival be wise and do your research regarding what sort of event they present. It's a bit much to travel across the nation to attend, go to your screening, and then it's you the filmmaker and only 4 other people in a sunlit conference room with a LCD projector... Experience that firsthand and you'll get a rude awakening of the sad state of some so-called film "festivals" these days. This doesn't even take into account the festivals that exist solely to generate submission income and then dole out laurels and empty awards, while never even holding physical screenings. Our festival may be small, but at least it's legit. At any rate, PM if you're interested. I'd like to hear what you got going. Also: Good luck in general!

who cares what super 8 looks like now - it's mostly an image in our heads. It's all psycosemantic. As long as you like the look, thats good, whether or not it confirms to "reality"

Yeah I should. They are becoming a bit of a joke.

I don't know much but I know canon and I know Sony when it comes to event reportage. Nobody ever said wow to the Sony footage out of the box. Brides, friends, famy... everyone loved anything shot in the Canon XL series. (Edit: I had a camera owner/ operator work for me on a job and her footage was incredible. But she had spent a lot of time with that Sony z series and knew how to wrestle it into submission. Then it was actually a bit more natural and superior to the Canon. From what I can see, not much has changed in this regard) They, Canon, simply nailed the DIY, pretty footage out of the box market. I can't speak to anything else but this obvious 'fact'. These folks with 10 seconds with Lebron are living in a fact based reality. They are showing you indirectly their weapon of choice. To dismiss them as uninformed on the 'plethora' of options available is to quite frankly sound a bit ridiculous. No insult intended. Just bemusement. Edit: the fact based reality is you are making crap money for long hours with stiff competition, and nobody wants to color grade your footage at 1am when you send it to the studio, or listen to your excuses about how your equipment overheated, or has a magenta cast, or is not broadcast ready -yet, or wants you to telepath your filmconvert ritual to get to rec709...

So for the Tenth or Twentieth, Ive lost count, time I will give Sony a go. Just opened the box to a a6300, charged the battery, popped in the SD, turned it on, it crashed Lets hope it does better this afternoon... EDIT: Formated the card in my computer, and then in the camera. Now it starts. Pressed record, recorded 10 sec. Looked at it on my computer... full of vertical static stripes, blockiness and more noise than a smart phone. Will update firmware and see if it helps.

Hands down.

I already did. Go to the link below. What I can't recall is if I mentioned in that thread how much more robust the Canon files are. I had much more room to grade with the Canon, whereas the Sony files just turned to mush. Granted I have seen cameras that were even more flexible when grading, but not with the feature-set and iso performance that the Canon offers. All around the Canon is well balanced and never feels anything less than Pro. Even in stills mode the Canon looked better at high ISOs. When noise was present, it looked organic, while the Sony image was covered in the usual green pink multicolored speckles that ruin shots. The only edge I give the Sony was pure resolution. And in good lighting the Sony can deliver great stills. Comparing the video quality is pointless. The Sony always looks video, no matter lighting, camera motion, audio... there's just no getting away from it. Where the Canon can look very cinematic, with pleasing motion cadence and great colors. Different leagues. The Canon may cost double, but even then, it punches way above its weight class. I've finally stopped looking for cameras. I now have a tool I can work with. I've turned my attention to the craft and creating the look. Ordered gels, canned haze, and some soft boxes. Recently got a jib, and I'm loving that thing... Although I need practice. The 1DX MkII is squared away. No more blaming the camera. Now I have to bring my A-game to deliver the results.

I'm always trying to get the Super 8 look, and this thread motivated me to try again. This is my bmpcc treated to look like Super 8. I want to post footage, but for some reason, a lot of my gorilla grain files cause red flash frames when composited over the footage. Fine grain works, but anything heavier has this problem. I'm pretty satisfied with this look. It's the closest I've gotten I think.

MAN THAT LOOKS AWESOME - is there a way to get rid of the tape issues - maybe if you record the signal out if it has a video out? also seeing the JVC HD100 has a really nice look - does anyone want to test this out? man that is super useful! I took the detail out of it on the latest test.

It's r709. The sRGB item in the menu refers to jpegs.

GX85 reference source files. 4K 30p: https://www.dropbox.com/sh/ind5m3i55ref68n/AADuWTubn7qDQpSeTaRi7r_Ia?dl=0

Natural Color Profile: 0,-5,-5,-2. Indoor shots with a 55mm FD lens, Chinese Speedbooster, no filters. Stabilizer set to 40mm Highlights set to -2 White Balance Adjust A:3 G:3 https://www.dropbox.com/sh/sqfycip8z52s3z9/AADEWeIG1R1i1hUObtrLGlrea?dl=0

I am now doing groundwork for mods that will be a lot more advanced. This is why you are likely to not see any visible progress for a while. In essence I am trying to zombify the di-camera-app to enable bi-directional communications between it and my mod infrastructure, and to introduce the possibility to "drive" it from the mod runtime.. If successful this should allow many things, potentially including native UI integration, true BBAF, native integration of focus stack & focus pull, etc. etc. My plan is to make it an extensible and open framework upon which others might build on (e.g. Otto) to deliver things that work in coordinated manner with the native app, and that are aware of what the native app does. This will allow, for example, to have the UI permanently up to date regardless of what the mod does (as opposed to today where mods do not update the UI because they are independent of di-camera-app). NB. Nothing above is a promise or commitment and you do not see any timeline, do you? PS. I still covet that lens ;-)

Experimenting with the GX85. Shooting under sub-optimal conditions. Bright mid-day light, hard shadows, etc. Cheap Chinese speedbooster with a 55mm f1.2 FD lens, B&W 64x ND, and a Tiffen circular polarizer. No lens hood. Neutral color profile -5 -5 -5 -5. Most shots @f2. Here's source footage straight from the cam: https://www.dropbox.com/sh/694tsb6iwy5y6um/AABOcE_3WUiCMY18xyOuTLEaa/GX85?dl=0

Hope some people find this helpful. http://blog.josephmoore.name/2014/11/01/comparing-focal-adapters-the-metabones-speed-booster-vs-the-rj-photo-lens-turbo/