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This is the focal test: 1 picture, NX1 + NXL adapter + 50mm Nikkor Nikon 1.4 AF (aperture F8, Focal 50mm); 2 picture, NX1 + 16-50 OIS (aperture F8, Focal 38mm); 3 picture, NX1 + 16-50 OIS ( aperture F8, Focal 50mm). (All picture it's taken freehand). Are welcome your comments!

Hi all, FilmConvert here. We've just released a v2 of the NX1 camera profile which corrects some of the color issues you may have experienced. Download from www.filmconvert.com/download/camera-profile

Could you show an equivalent sample later on a tripod/set down on something solid? Much appreciated. It's looking pretty good.

I made a video in this style. Definitely not as good as the Watchtower of Turkey, but I'm pretty proud of it. What do you guys think?

Okay, this will be a long answer full of personal theories that will probably enrage someone... From an acting standpoint, I find ADR to be extremely easy, but I'm not a real actor that has studied and honed my craft. To go line by line and listen to your line reading and then repeat it, is probably the easiest thing I've ever done as an actor. With that being said, it is pretty soulless and devoid of any form of performance creativity. But I am totally fine with the most generic of styles, a friend of mine who is an indie filmmaker, will sometimes do a line reading and then ask me to repeat it the way he said it... Especially with specific lines that require a specific cadence. I do not get offended by this type of performance, but I am sure a lot of actors would because they want to bring something personal to their character. I don't care about such things. I am more like David Mamet who believes that everything an actor needs to know about a character is on the page. As a no budget director, ADR sounds both liberating and terrifying. Now when I say no budget, I am not mincing words, I am not speaking micro budget or low budget... I mean NO BUDGET. I have a decent day job that affords me the time and a little cash to pursue this, but I am in zero position to invest too heavily into any one project. I am a one man band filmmaker that will occasionally have a little help, but I have learned very quickly that you can never count on any help when it comes to making movies on the cheap. You can only count on yourself. I do pay my actors on a small per diem basis which is usually enough to cover their expenses and put a little coin in their pocket. So I try to schedule everything I need from them for as few days as possible... So much so I will rewrite characters and combine characters if it gets the short made. I believe in getting the best quality I can get based on the level I am at. I am not a professional audio guy. I cannot afford a professional audio guy... or gal. If I can plug a Rode VideoMic Pro into my camera and get usable audio, I will do that every time. If I will get better audio doing double sound with a lav and a small pocket recorder... I will do that. If I have to do ADR, I will do that, but never before I attempt to get good on set dialogue. Where my opinion differs from most, is that a lot of low to no budget filmmakers believe that if they use a sennheiser Mic plugged into a zoom recorder and have a friend hold a boom pole over the actor's head, they are getting professional sound because Hollywood does double system, and Hollywood sound techs use boom poles. Sure that's true, but Hollywood has professional equipment way better than a zoom recorder and a mixing board with a mixer adjusting the levels of the tracks as the tape is being rolled. And you know what, even after all of that, in a lot of instances, Hollywood films are ADRd in post. There really is no right answer but there are a lot of options and every shot, scene and sequence has a mountain that needs to be climbed to get it in the can. So, do what's best for the time and resources you have. If you can get the dialogue on set, awesome... One less thing to worry about. If not, fix it in post. To add one more thing, my theories and practices are based on 2 short films I have done and a half dozen or so, that I started and then abandoned because they either didn't have the legs they needed to be a compelling short on either a personal or artistic level, or they turned out to be something I couldn't do well enough at my level... Some projects require more than I can give.

Meh. I hardly ever use 4K on the Ursa Mini. The ProRes 422 HD files are beyond good enough for the kind of stuff I shoot. The battery life does suck on the Pocket, but it's pretty small. They've already improved it with the Micro Cinema camera. They really need to make a chunkier pocket camera with a swivel screen and Canon batteries.

Yeah - this is why I went for the Shogun flame. Single price, cheaper than the 7Q+ from the get-go, and comes with everything you need to get shooting (minus SSD, but I had one from my original Shogun, and it takes standard SSDs). 7Q+ the base price is for monitor only, which means you then have to tack on the cost of SSD, codec licensing, battery plate, batteries, charger(s), D-tap and/or 12v Lemo cables, sunhood, etc. The sale price at the moment is not bad, but you can easily add $1000+ to it quite quickly

thats why I got hired for the movie!! I come from a pop video background for 20 years ,I always shoot with gels on my lights , the Director wanted a very modern bold stylised use of colour , he came to me to design the whole look and style of the movie , so I have used different colors and contrasts of colours through out each section of the movie so each scene has a look to it , It was a very small crew I was DOP and Gaffer ,so I lit the entiremovie myself as well as shooting it .I have big lighting package I brought to the movie of 25 Arri Fresnels , (1k pups , 650s , 300s 150s etc) and kinoflo tube lights yes I do use Lee gels all sorts of colours plus I shoot alot at 4000k for interiors the Panny looks better at 4000k than 3200k , just that bit warmer , I shoot day exteriors at 6500k and all my night exteriors at 2500k , yes I do try and use contempory colours there is modern colour palatte in the industry I have embraced alot , this movie has no day exteriors in the whole script , all the exteriors are night time so I got to play with the colours alot which was fun gelling all the Arri HMIs at night I used alot of Peacock Blue and 1/4 blue. Lighting is a totally subjective subject , I like to treat it as a completely creative tool to help tell the story and a contast in light and dark is also complemented by a contrast of colour in the lighting , why limit your self to what I call boring plain 'white light' , you dont have to just use your lamps as is , gel them with colour and diffusion , most of my Fresnels have F1 diffusion on them all the time , (I rarely use undiffused lamps) ...along with a gel , if you want to play around with this then just get some full CTO and Full CTB gels and start with that , the possibilities are endless!! get creative......

So I just found out that Magix acquired sony Vegas Pro with the whole Sony Creative Suite, and just announced a new version that will launch in September. But what they seem to highlight as the newest feature beside a redesign along with 4k and HEVC Hardware Acceleration support, is the native ProRes capabilities and support. So will this be the go to Prores editing software for Windows users ? They also lowered the price from $600 to $200 and are giving Vegas Pro 14 for free if you purchase the 13 !! Thoughts ? Here is the offer link http://www.magix.com/us/specials/vegas/exclusive-welcome-offer/

Hello everyone! Few days ago I finished editing my last short timelapse video. I put a ton of work into this (shot last year, edited in 9 months, just because I couldn't focus on in completely). Edited in ACR and Premiere Pro. Opening title in AE. Please read the video's description for camera info. Almost every shot is done in silent/electronic shutter mode, works like a charm for timelapses. I have some complaints about camera, I'll post it if anyone will be interested, but other than that, it is a great little tool!

Not right :-). Final Cut got markers.

Hey Liam, Cliptoolz is available for download in version 3.0. Version 2.0 used to be for free but is now only available with limited functions.

And also from learning and watching based on the work I performed as crew/producer on two of my good friends' half a dozen, or so, no budget indie films... After the ES scandal I don't want to sell myself as anything more than I am... An aspiring, amateur writer/director with more opinions than credits.

Canon is a very predictable company. They aren't like Sony in that they do things that are unexpected. We won't see a 5d4 or 1dxii ever get canon log. This response from them proves that. Thanks for sharing. Canons cinema line will always be the only place for Canon log. Canon at cinegear stated that they are a lens company first and a camera company second. The amount of glass they sell is astronomically higher than camera bodies. Always keep that in mind when you think of canon. They are very focused and predictable with their cameras. Unless there is a "C" on the body, don't expect canon log.

Yes. Seems like you have a handle on things. When it comes to small productions, unless you have a good reason (story) to actually use a camera and film something interesting I really don't see a reason to put the cart before the horse. When you're finally really excited about what's on the page, then take time to worry about the tech. If your film was on a budget wherein you were the DP and your main concern was the camera, then you could burrow into the rabbit hole. Otherwise, just get what you can with that 8K and you'll be fine. Personally, I sometimes wonder if too many production people feel like the subjective issue of skin tone/color is something that'll make or break a movie. I mean, I care about it too, but it's waaaaay down on the priority list. That's me though. I tend to do work wherein I'm the beginning and end of everything, so my priorities need to take into account much more than just camera... The first one being, would a viewer even find this story interesting?

From Canon:

It seems that Shogun Inferno could be the one to beat CD 7Q+, specs are almost the same but it has high brightness FHD screen(1500 nits) with an option to view footage in HDR. https://www.atomos.com/inferno/ http://www.bhphotovideo.com/c/product/1247728-REG/atomos_atonfi001_shogun_inferno_7_4k.html

I meant the newest Shogun update, enabling the Atomos Shogun to take a 12 bit 444 signal and record it:)

Woaw waiting for the 5th of august Nice job

In few words, a speedbooster makes all your ff lenses behave on apsc as they would on a ff sensor. Both in terms of bokeh, light, and fov.

Yeah, I kinda agree, I haven't seen anything impressive at all, in fact, it amazes me Fuji never put this camera into the hands of a DP to produce something that kicked ass! Maybe this camera has no kick ass, although it is still in beta. Below is a frame grab from a recent shoot with my Fuji XPro2, and in my opinion I haven't seen an image from the X-T2 that touches that image! And yes, that's SOOC.

Sounds like it could be the alignment then, even a few millimetre rotated each direction can ruin a lens.

Check this out. Short film entirely shot in NYC's Blizzard of 2016. All on A7s II. Loved it.

But you were saying the Odyssey with the F3? & in that combo it is overkill. As BMD VA & Samurai Blade already have SDI. And F3 can't do raw or 240fps.

F3 doesn't do HFR, and only outputs at max. res of 1080p. As an all-round (regardless of camera), a 7Q(+) or Shogun makes more sense, but if buying specifically for the camera (and on a budget), then it makes no sense to spend more on a recorder that has features you won't use.

The AE lever on the C/Y lens doesn't fit properly with the EF mount BMPCC speed booster. They need to be filed down to fit, check out this thread on BMCuser about it: http://www.bmcuser.com/showthread.php?17173-Contax-with-Leitax-Canon-EF-Pocket-Speedbooster-BMPCC

All good, tweak--the image actually improved to a less globby mess at f16~22, but still nothing even distinguishable up to at least half a mile away (lots of subjects on bright days out here). My only theory at this point is that there is some misalignment within the lens itself. I didn't mention that in the listing earlier (mainly because I felt it was something I was doing wrong), but the seller rated it as a "C+" condition lens, as they stated that it had marks from possible fungal cleaning. Before I bought it, I asked the seller if he thought the cleaning marks dramatically hampered the image quality, and he said he didn't know, but he would be happy to take it back if I weren't satisfied. Perhaps I should have been wary of the "didn't know" part, as he sells lenses for a living (though perhaps not as many anamorphics.) But given the fact that I could see a pretty clear image of my TV when holding the lens 2 feet away from my eye, I don't think cleaning marks have anything to do with the problem. My thinking (for what it's worth) is that it has to do with the internal alignment/distance within the lens when it was cleaned, as there are definite signs that the rear of the lens was indeed opened prior to my acquisition of said turkey. Granted, we're talking about milimeters of distance between the elements, but perhaps these tiny lenses are even less forgiving. Thanks to all again--as I gain more personal experience, I'll share as you have with me.

Thanks @andy lee I really need to start picking up some lights. As of now I have a mix of small LED panels, some Home Depot clamp lights and some practical lights I put some photo floods in. I also try to stage my scenes around the practicals and available window light. In the short I'm working on now. I have a scene in a tent. I think I'm gonna light the outside with flood lights to try and mimick moonlight shining through the tent. Some shots in the scene will be POV through a camcorder, so an on camera light should work well as a key and hopefully the floods outside will provide the fill and backlight. I will also have a lantern hanging from the top of the tent, so I may try and hide a small China ball lantern with a photo flood at the very top of the tent... Or if I have to, I'll cut some of the roof off and hang it above it outside. Anyway, thanks for the links, I'll definitely be checking these out.

Hey, Bioskop.Inc, yeah, I tried to focus out of my window from here to across the street, but nothing but a glob of murky smear, regardless of iris or focal distance on my prime. And correct on that light source--I'd never seen a penlight take up the entire frame--like it was set for microscopic levels. I finally gave up yesterday and shipped it back to the seller in Prague (before I accidentally scratch it). Sad, as it was the only Isco I had owned, and now the baby Möllers and Hypers are way too expensive for me. But I have more than enough lenses to experiment with for the time being, and I thank you again for your input and encouragement. I feel like a bit of a quitter, but the window for this $400 lens was closing faster than I was making any progress.

DIS in video mod work perfectly but resize the visualization. Hello cojocaru27, very soon it will be possible to pre-orders. I believe we are around 55-58mm. The DOF 1.4 is awesome! full aperture form large and very nice oval ball!

Awesome! I guess I'd prefer small primes coupled with sensor stabilization. But man, if you want to work with a nice allround zoomset, there hardly is anything more suitable. The 28-70mm and 80-200mm f/2.8 D still make an awesome pair! Been keeping my eyes open for a 17-35mm to hit a nice price for quite a while now to add to the two. Nice coverage speedboosted on M43. Like the 18-35mm and 50-100mm f/1.8 from Sigma would too I suppose (depends on the look you're after). Same goes for both too that they're rather clunky and would require a little bit more rigging up. But hey, then you're shooting Bourne-style baby!

I got your point. Looks like he is struggling & was giving out more info in the process - like a good forum member should (not a 60yr old wannabe relic timewaster!) I'm sure from his pics it's a distance thing, if not......a metallic thanksgiving meal!?

I think, Panasonic really has some mojo going. It is all about the settings and the grading. Besides WB, light, setting of course:). I still like some of the GX7´s footage on vimeo the best of all Panny cams. Maybe it is the GX7 shooters, maybe the absence of adventerous usage of luts, I don´t know. Came across this video below, seemingly shot in 50p. Still looks filmic in a way the beautiful motion picture Bin Jip does. Some beautiful tones and hues going on. If people referred to Japanese preference for greenish tones- this is what I would assume to have been meant. Not 8bit SLOG graded greens of Sony color horrors!:) Out of box a lot of footage looks like a drawing done with crayons. With a certain way of color treatment it can look like a oil painting with a richness to it. Some "hidden" magic in those Pannys. Now, maybe the examples colors below doesn´t fit the bill for some readers but to me it is a beautiful illustration of the Panny mojo. To me even more so than the cool GX7 beach footage with the Ultra Contrast filters, which has been posted on this beautiful forum some longer time ago.

Better the hyperfocal distance. With most wide lenses and small apertures, the focus setting wouldn't be infinity but, amazingly, between 3 and 6 feet. According to an online DoF calculator, with a 12mm @f7 on a GH2 it would be 4,4 feet.

What will you say if it doesn't have those specs? In all honesty, I doubt we will see 6k @60p from the GH5, though honestly I would love to see it. And hope they give us 10 bit, raw option, and lovely motion cadence. But would this not render the Varicam irrelevant?

DBounce, I think you're kind of over-protective of your purchase decisions. Nonetheless, enjoy. BUT.... What are you going to think and/or say when the GH5 shows up with 6K @ 60p?

Posting to confirm this was discussed by all moderators and was chosen as the best solution to both allow the problem to be solved by all parties involved, and minimise the negative impact on the wider EOSHD community. Please take extra care when trading privately online. Stay safe and keep making this the best camera forum around! Peace out x

Thanks for sharing my film IronGuy ! It was shot with the G7 and 12-35mm f2.8 & 42.5mm f1.7 lenses. Graded with Magic Bullet Looks in Premiere Pro CC.

You can customize Canon's scene file settings using the given gamma curves and matrices from standard, cinema, wide dr, eos, and canon log to create customized looks and with quite a lot of power (adjusting each color's relative balance, gamma, IRE clipping point, knee, noise reduction, sharpening, etc.). However cinema locked is... locked. And I just use those settings. It is undoubtedly the best gamma I've used for getting an image with decent dynamic range and tonality from an 8 bit signal.

Slightly off topic, but not really... I have been messing around with some downloaded C Log files from the XC10 and I am really impressed. It's a blast to grade with so much color latitude for an 8 bit small sensor camera. But I was wondering... Is C Log customizable or is it like Raw and ProRes from BM, flat and as is?

I like ADR. I have done a little acting and it is pretty easy to listen to the scratch track and mimick the cadence and tone of your lines... Especially when broken down into smaller bits.

Multi Cam is great for dialogue scenes as you can shoot over the shoulders in both directions at the same time and sneek in a 2 shot wide side on plus ECU head shots in both directions at the same time too ! 5 cameras for all that and the actors love it as they can play the whole scene in one pass and its all 'real' the performance can be cut for one actual take so it all edits together perfectly , yes you have to light for it and set up the shots but I do highly recomend it ! its so much faster then with one camera . I started shooting multi cam on my pop videos after I stopped shooting on film as its so much more useful to get all that coverage faster, so its not something new to me and when the Director of Pandora embrased this way for filming for this movie it was great to be let free to hunt down cool shots with all the extras cameras I had to use. here you can see a shot from the movie and below it a BTS photo of the set up and how I lit it and shot it multi cam , I used 5 cameras on this sofa scene shooting both sides at the same time. cu head shots, 2 shots and wides all at once - saved loads of time !!

The question was about about grading, not how the shot was exposed. Although I do agree with what Dave said. I kept it warm as it's a sunny day, reduced saturation slightly, adjusted the greens and reds and I hate crushed blacks so..

Its not clipping. In fact its perfect. With any digital image you really need to expose as hot as possible without clipping. When you pull the exposure back down to normal...all the noise that would have been there gets crushed and goes away. You did everything right. Here is a video of what I would do. Even have a way to give it a "look" at the end if you want. You really nailed the shot actually. Looks great.

I've never posted on this forum before but I read it quite often, and I thought I should finally contribute since I have actual useful content this time that nobody's actually definitively confirmed. I have the Panasonic GX85, the US version. I have it in my hands and it's a beauty. But let's just get straight to the point. 1. In AVCHD and in 4K, there is no 29 minute recording time limit. There still is a weird 29 minute (and 4GB) limit for FHD/HD/VGA MP4 clips, but none for AVCHD and 4K MP4. Part of me didn't actually believe it, so I took a fresh battery, a fresh 64 GB card, put the camera into 4K video mode, IBIS on, and just hit record. 1 hr 29 min 9 sec later, the card filled up, and the camera stopped recording, but the battery still had one bar left, and the camera never quit recording on me. It was warm, but not hot to the touch. It was indoors and at night, however, but I'm just telling you, recording long clips is well within the realms of possibility with this camera. I'm actually quite excited about being able to record indefinitely in AVCHD as well. When I'm recording a long event, it's not that important to get the best quality, but it's important to be able to get SOMETHING. I can run this camera up on a tripod, set it to AFC mode at 1080/30p 24Mbps AVCHD, hit record, and come back some time later and know that it got SOMETHING for last hour and a half. AVCHD can be annoying to work with, but a lot of consumer-level camcorders still use the format, so in effect, I'm getting a very capable large sensor camcorder to go along with my high-end 4K shooter. No complaints at all. 2. And that's not all, folks. I've had a GH4 and one of my least favorite things about filming 4K in the GH4 (and GX8 and G7) is that stupid 4 GB file size limit thing. So when you're shooting 4K, every six and a half minutes, there's a new 4GB file. But that's history now. On the GX85, if you use an SDXC card (basically anything bigger than 32 GB), the camera will give you one single monolithic file. I record a lot of musical performances, so long takes are kind of standard in my regular usage. I am not joking when I say that my editing process for 4K just became 40% happier. According to the manual, a file will split if "the continuous recording time exceeds 3 hours and 4 minutes or if the file exceeds 96 GB." Since the battery can't even last that long, for all intents and purposes, GX85 will give you single takes in single files. I expected the IBIS and the 4K and the beautiful design and all the other stuff. But I honestly didn't expect these two features. I really thought they were going to burden us with a stupid 29 minute limit in all settings (I assumed that and ranted about in other forums, I feel dumb now, oops) and never in my wildest dreams did I actually think they'd solve the 4GB issue with this camera, but they did. It's safe to say, this is the best MFT mirrorless shooter right now. GH4, you had a good run, but GX85 is the king. This is a true hybrid shooter. And at about half the price as a GH4 when you consider the cute pancake zoom has decent resale value. As an aside, GX8 buyers have got to feel a little burned by the GX85. I'm sure a lot of them would love large file support and 5-axis IBIS.

Here are some old examples from me. I wouldn't say this is the same style as the video we're talking about. However, there are sound editing techniques in a simple sports PR series I did in 2013 that are kinda-sorta similar. It's not a complex technique, just a little time consuming. And building a nice unexpected but motivated soundscape in an edit always takes it up a notch. Sound is always good to concentrate on. Basically, just getting in there with curious elements can create a nice context to an edit.

I am currently editing a video in this style so I can point you to a few links if you are looking for further inspiration. 24 hours in Ibiza https://vimeo.com/135852367 India Land of Kings https://vimeo.com/140850530 Roma https://vimeo.com/137925379 Tokyo Roar https://vimeo.com/129171397 The Norway https://vimeo.com/140960984 Amsterdam Music Festival 2015 (check this out to see it done with a bigger budget) https://www.youtube.com/watch?v=H9xFVfERKUU I think that should keep you busy for an evening. PS: My advice would be to screengrab them, pop them into your NLE and look at the transitions frame by frame. Collect as many shots as you can, don't worry so much about how they will stitch together as it is more important to have options. Watch this interview with the Vimeo pioneer of this style Matty Brown https://vimeo.com/138341824 Make your movements with the camera as slow and as stable as possible. Always look for movement in the shot so you can emphasis it with speedramping, even if its just a blink of your subjects eyes. Try to get shots of birds, yourself as filmmaker (self reflexive shots of filmmaker in action i.e. your feet, your hand opening a door etc), water, people preparing food... just shoot everything you can think of. Try to tell a story. As mentioned above, the style is montage which was propagated by Vertov with Man with a Movie Camera. Check it out on youtube https://www.youtube.com/watch?v=z97Pa0ICpn8. However, I would call this a post modern treatment as it includes hyperlapse and special effects. Don't try to make something as intense as Watchtower of Turkey unless you have at least 2-4 weeks of full time editing and effects available. Look at some of the other takes on this style which use the transitions, sound and movement a bit more sparingly to great effect, like some that I have linked to above. Finally, learn how to use curves in After Effects if you want to have that off balance, natural swinging type of movement. I am not an expert on this style yet, but hopefully when I am done with my cut i can offer more tips.

That guy is God for me! I once found an interview with him, I am in a rush, Google his name! You can't make a feature film with that edit style, but for two-three minutes epic videos, it's incredible!!!