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After much work and many sleepless nights, I have almost finished my work and I think I have brought the lens NXL to the point of being sold to the public. I thought if the test this week will be positive to produce it with Canon EF mount dumb to which you can add a Nikon adapter with iris aperture control. At this stage it allows to mount all Nikon and Canon lenses, in the future I will continue to work to enable the electronic control of the lenses.

Canon have the colour-path and codec nailed to perfection on the XC10. I am also impressed with the dynamic range of the sensor, even in the most contrasty picture profile it rarely struggles no matter the light thrown at it. I have also been enjoying the stabilisation, very impressive. Shot for 3 weeks in Italy with it and editing now.

I suggest that we use another topic to discuss the Speedbooster for the Nx1. I know that we don't have much news about the hack development lately but lets keep on topic here, please.

Samsung nx100 + NX/EF SB + CANON 50MM 1.8 II I CAN DO IT!

hahahahahahahahahahaha!!!!!!! never!!!!!!

I make no claims to knowing the guy, being a part of anything other than being his fan for the past 3 years. He introduced me to blackmagic, because when I searched for blackmagic in 2014 his vimeo channel came up all the time. He started with, if I remember, the pocket and then moved on to the cinema camea. He built his own light systems and taught himself pseudo 3d animation to complete his money shots. His talent was his wife. Who, if I remember, was a painter or photographer, I don't know, but she was not shy. Yes, it sounds like a 'latching on to success' post, but really, I thought he was very strange. But I wathecd all his early videos like a hawk because he had, what we call, 'talent'. He got hired by some agency based on his shorts and I thought he was gone. Then a week ago I see promo for a film BASED ON HIS SHORT. To me, he is an inspiration. His movie is trending worldwide, its called Lights Out. Look through his videos to find his inspiration. Here's the profile https://vimeo.com/dauid Try to watch his behind the scenes if you can where he gets a bit nuts with piping and hardware lighting. We should support him fully!

You basically record a 'safety track' as backup of the same recording, at about 10dB lower that the main one. So if there is some popping as a consequence of a surge in sound by a talent or anything else, you have a backup, at a lower dB. It can be done with almost all dual sound recorders (whether separate channels, or mono). Like with the Shure LensHopper VP83f. You can record the 2nd sound (the one on the MicroSD Card) at 10dB lower, to have as a Safety Track. It is there on most sound recorders, that have more than one channel, or record into more that one place (camera and recorder etc).

Which is why the GX85 is so appealing - all those fast prime lenses can now be used handheld on a small camera, with good 4K video. Sure, RAW is more creative, but not if it inhibits what you can shoot. Which is why the BMPCC was not the only camera used on this movie.

We carry the Second Shooter where I work and I've used it a handful of times. It's very easy to set your points and adjust your speeds based on what you need. It's a very strong system and the menus are very straight forward. It's solid. Granted I haven't used it extensively, but this is from testing and slight use in the field.

I was DoP for part of this: The director was himself one of the key leads! Good idea really, as it was a long slog. 5yrs in the making! My Tascam DR60D has this feature. "Safety track"

I recently ordered a full spec Dynamic Perception 3 axis rig...did a lot of research into Kessler/ Edelkrone and found the Dynamic Perception setup to be way more friendly for customising (open source) and a much better fit for my needs. I've built my own focus motor, which i can easily patch into the system (yet will have to loose 1 axis when using it - as current NMX controller only supports 3 channel). Apparently in the near future, they will allow multiple NMX boxes to be daisy chained, allowing theoretically unlimited motor channels to be controlled via app software, or when tethered to tablet/pc running the more featured Graffik software.

Im going to throw Panasonic into the equation, I just shot a Feature film with 6 Panasonic G7 cameras with Nikon Glass and Metabones XL speedboosters and Gini Rigs cages G7 in 4k is an amazing camera I tested it at length against a RED Epic and Arri Alexa and we all prefered the image fom the Panasonic especialy in low light it out performed the Epic , so much cleaner image off the Panasonic no noise or fizz in the blacks like the Epic had. I shot the movie with these lenses Nikon 80-200 f2.8 'Bourne Lens' Nikon 28-70mm f2.8 'Bourne Lens' Nikon 20-35mm f2.8 all on Metabones speedbooster XLs to give a Super 35mm field of view on the G7 it also made the f1.7 contant apperture zoom . The Nikon Glass with the Metabones XL gives a look very similar to Zeiss Master Prime lnes its that sharp and good. with those 3 lenses you can shoot your entire movie see pic

Shot this film in Botswana and I have to say that the BM cinema camera works perfectly for wildlife filming. You will need an external monitor because the screen on the back acts more as a mirror than as a display but other than that it has been great. It eats a lot of hard drive space so a few extra ssd's are needed. Let me know what you guys think.

http://www.provideocoalition.com/blackmagic-micro-cinema-cameras-used-on-jason-bourne/

Yup. Soon! Currently doing the festival circuit.

Looks like isco ultrastar or similar...nice and sharp, but maybe a bit lifeless for some tastes (high contrast). If I had to wild guess - it would flare a muted green streak? (i can see a hint of coating fringe on a couple of shots)

Libec tripods

I saw this yesterday, and I was blown away. The Difference is almost Night and Day.

I just finished a video that is a collection of shots from my trip to Tehran during May of 2016. I hope you enjoy some of the sights I captured of this beautiful city. GH4 4k Baby Hypergonar 1.75x anamorphic with Linos MeVis 35mm f1.6 and the Zeiss Ultron 50mm f1.8. Rectilux 3FF-S, Marumi + 3 achromatic diopter and Fujinon ENG 72mm close up lens. Edited in Adobe Premiere and colored using Colorista III.

It is difficult, the distance of the sensor to the flange, the FD system is the shortest of all, also the rear fitting has linkages that do not allow the assembly.

No idea how to do it on a mac but check the SMART log on the drive. Maybe it's doing a short test, not that they should be done that often anyway.. You can also see if it is spinning down or not.

Yeah, Andrew, cannot wait to see the footage! Awesome! XC10 shown an "organic" image in the promotion footage with granddaddy chasing streetrobbers. "..Color-path, codec, nailed to perfection.." sounds so cool. Forum contributor Mercer seems to have healed his GAS with the XC10- we will see:=) Really exited to be on your awesome community! To people thirsty for some more inspiration, just check out this cool EOSHD thread:

I'm fortunate that it only needs to shift around an Alexa mini or DSLR...so those steppers are fine. The maximum recommended payload is 5-6kg, which is more than I'll ever need. Most people seem to use dynamic perception gear for time lapse use, but the possibilities for video use are very competent, providing the camera payload is relatively modest. Yep, the Graffik software and the ability to patch into dragonframe for stop motion work is a massive plus.

Let's look at the previous track record.... Canon 1DX comes out. Then a few months later the 1DC comes out. Fast forward to now. 1DX mkII comes out. A few months later.... 1DC mkII comes out? That's my educated guess. We'll see.

The essence of that kind of video is: 1. Capture a lot of footage. The author says that he captured 4TB of data to make a 3:30 minutes video in 1080.. 2. Match the transition using motion blur, perfect image and frame alignment. This is very important because just a few degrees difference or 1 frame before or after can ruin/win a transition. Like he says : "To create a continuous movement, every cut must appear to seamlessly transition into the other. And you can only see if shots really work together while you are cutting them on the timeline. You can have a shot that is very cool but the colour, the content or the movement doesn’t match with the preceding or the following shots. So you have to find another one. It’s like a puzzle. Finding those shots that match perfectly together and that also fit with the story and the overall flow of the edit can be a big problem when you have so much footage." So it's a game of patience and hard work, can be very very dull sometime because of the amount of raw footage. For the hyperlpase, I can try to help answer your question if you want. Here is what I do:

For what it's worth, I wrote a review for timelapse network about the Dynamic Perception system. Unfortunately I have very little experience about the Second shooter but it generally has a good reputation. http://timelapsenetwork.com/products/sliders-moco-dollies-and-cranes/dynamic-perception-stage-one-stage-r-review-oliver-kmia/

Is it called "ghosting?" Lol. Probably not because I just made that up. I have never heard of this technique, but it sounds like a really good idea!

This seems like decent time to ask this.. I forget what the technique is called where you have two mono audio channels recording, set at different levels, to have a back up if one of them clips, like increase the dynamic range of the audio. Without the name it was impossible to research how to do it. Feel like that would be an awesome tool to get something usable on set.

It's a great idea to cast yourself in your movie... You work cheap and you know you will always make the call. I am a slow burn, horror/thriller writer/director so there isn't a ton of dialogue in my scripts to begin with, so I am not too worried about it. In the short I am working on now, it is a mix of traditional narrative and POV camcorder footage... So most of the dialogue is in the camcorder footage, which is supposed to sound like audio being recorded through... You guessed it... A camcorder... So I will be recording all of that dialogue in camera with the Rode VideoMic Pro. I am looking at it how I approach lighting... Where is the light coming from... Is it a lamp? Why is there a bright light in the actor's face in the middle of the night in the dark woods? I hate that! So, I want to look at sound in a similar way, I believe the camera is a character in a movie. It doesn't have a name or a backstory, but it has a POV... Usually mine. So, if I am shooting a wide establishing shot, why would I hear the actor's conversation as if I was doing a close up? I read an article awhile back that discussed how online journalists record audio. And they do all of the interviews (dialogue) with a mono microphone and then all of background sound (foley) with a stereo microphone. With a small, pocket recorder + lavalier microphone you can capture your dialogue with a mono lavalier microphone and then plug a stereo microphone into your camera to get your foley. Again it's not the perfect solution, but for run & gun projects it really makes sense to me. As for movies that are ADRd, yeah I do not get when they just ADR one line in a scene, it is so obvious, especially in no to low budget indie films, but awesome in no to low budget Kung Fu Theatre. I wish I could "like" this twice.

SmartLav+ is just a lav. Not wireless. So you can't monitor. RODE makes many different microphones, all at a low price. As they target the low end. The best one is the NTG3. I have the NTG2 which is much worse. I've thought if I'd do it again I might get the MKE600 instead? Don't know much about the NTG4 but seems to just be a slightly improved NTG2

I love my CONTAX Zeiss glass. It's cheap and has a gorgeous filmic look to them. I have the "travel" set. 28mm f2.8, 35mm f2.8, 50mm f1.4, 85mm f2.8. Im wanting to upgrade to the faster primes and get to a full set of the "supers". Check out this RedUser forum all about them. Love these lenses. http://www.reduser.net/forum/showthread.php?92044-Contax-Zeiss-Survival-Guide&highlight=CONTAX

Doesn't seem like a Canon thing to do? What 2 different sensors do you see there? I see one new sensor, and another reused sensor, same old 18MP FF from the 1DX/1DC (mark 1). Did you forget that Canon is the King of the three Rs? Recycle, reuse and reduce (except the price and different types of models)? Remember the old 18MP APS-C sensors? How many different kinds of cameras had that sensor? If Canon goes down that path to have 3 to 4 different models of the 5D body (I still count the 5DS/5DSR as being part of this equation), like what Sony did with the Alpha bodies, why not have the same old 18MP to develop a 5DC?

Here are some more NX1 screenshots from past weekend: //Edit// CLICK on picture to see full quality 4K & 1080p 120fps, Samyang 85mm F1.4 & Samsung 30mm F2 Settings: Portrait, Normal Gamma, Sharpness -10, BMP +15, Green 0.97 Film Convert settings: Default 709 profile, FJ Astia 100 stock, Saturation 132. Lumetri settings: Tint +9

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

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

Thanks! The project was 24fps. I shot the RX100 in 60fps (40% slowed down) and some 240fps. The NX1 was set to the "portrait" profile, -10 Sharpness, Master Black Pedestal to -15 and green to .97 in 4k 24fps and 1080p 120fps. All the pit shots were the RX100, the car parade was a mix of both, the crowd of people was all NX1. Basically all the deep depth of field shots are the NX1 (85mm F2.8).

Maybe the Tamron SP 24-70 mm F/2,8 for canon mount ? its cheaper and have stabilization.

Depending on the framing of your shot, you could always tie a thin rope between you and you actor/subject... Attach it to your belt and his... Hit your focus before you start moving and as long as you keep the rope taut as you track him, you will stay in focus.

Seriously Ebrahim, you have admitted that you are a 21 years old film noob kiddo with a canon 1100d plus a regretful scammer, edit your signature and put that there instead of all the 61 years old filmmaker crap, maybe they let you post. So when a 21 years old kiddo with a canon 1100d writes that the Canon 1DC is the best lowlight camera in history, the guy who reads it will understand that this is just the opinion of a 21 years old kid -who made a scam- based on footage he saw online.

I actually prefer using the Filmconvert 'default camera' profile over NX1 profile(s) as those indeed give too much red and too little saturation in the blues. Here is a video I did today, graded with Filmconvert and shot on the RX100m4 & NX1:

for the record I have just deleted all Ebrahim Saadawi's posts on other threads this week he is not to post on any other thread , his priority now is to repay James full asap . Lets stick to that and get it done asap please Ebrahim Saadawi.

MODERATOR INTERVENTION FOR Ebrahim Saadawi Ebrahim Saadawi please stop posting in any other thread apart from this one , it was left open for you to communicate with the three people you scammed and to make sure you refuned them all in full asap - you have disgraced this forum we all contribute to and love so much. YOU ARE NOT AT LIBERTY TO SUDDENLY START COMMENTING ON ANY OTHER POST OFFERING YOUR TECHNICAL ADVISE - STOP IT NOW - MODERATOR JONPAIS AND MYSELF ARE BOTH UNITED ON THIS DECISSION. No more tec posting on this forum Ebrahim Saadawi.

Hi guys, FilmConvert here. Just wanted to let you know we've heard the feedback about some redness in the NX1 profile. We're doing some more QA here, and may release a new version of the profile shortly.

100% agree

if you don't wanna pay for the EOSHD guide, mine is free. (and better. hehehe) www.tferradans.com/anamorphic

All cameras are good these days. If you're still a spec sheet nerd, good for you. The pros I know will use anything that ultimately does the job. Even cheap "plasticy" cameras with lower build quality. Hey, sometimes you don't need a camera to last 5-10 years. Honestly, with the way the market moves, why would you? The things are practically disposable now. 1" sensor? Big deal. Shallow DOF has become wildly overrated and overused. This camera was on my radar as I do a lot of doc work. I have no doubt it would look fine the way I shoot. Ultimately, I decided to go with the GX85 for numerous other reasons, (the fact that I have loads of M43 glass and I need two of 'em) The other main reason being that the GX85 looks like a simple stills camera and doesn't intimidate anyone or call attention to itself by looking like a professional piece of gear. That's a huge "feature" for what I need to do. That need I take very seriously. And in my mind it offers a HUGE advantage over "pro" gear. How would you put that on a spec sheet?? Quite simply, if the XC10 solves an important production problem, no doubt I'd buy it. Certainly others are doing so.

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.