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A story without words about the demobilized soldier watching with drone for the neighbors Inspired by Fargo (TV series) Budget: 15$ All work in Davinci Resolve Studio 12 Shot on Canon 5D Mark III with Magic Lantern (ML RAW) and DJI Phantom 3 Thank you for watching

Turn your Samsung NX camera to Full Frame!! https://www.produzionidalbasso.com/project/turn-your-samsung-nx-camera-to-full-frame/

Turn your Samsung NX camera to Full Frame!! https://www.produzionidalbasso.com/project/turn-your-samsung-nx-camera-to-full-frame/

I think it's an early bird thing. So to encourage to get one as fast as possible!

The updated v2.50 is up, which should fix the issue with camcorder mode on boot. When in comes to donations: Q: So, where's the Donate button? A: Nowhere. Find a suitable charity and donate. If you cannot afford it, find a local charity and see if they need help in person - it will do you a world of good. cheers

... does RS really matter? (we can't really change or make it better, can we?) however, I don't know if it's just me, but looking at the great example @Geoff CB showed here, don't you feel like the effect is much higher at the acceleration points, and when the speed is stable, the effect is negligible ? @Otto K, if you are interested if the 2.5K is line-skipping (which it looks it does), maybe the moire effect will be more telling (and maybe it could show how much skipping is does), but again, (how) can we use that info? edit: On a more positive note, last thing before the summer, I think we got two addresses which load LUT at recording start, so maybe we can modify and get those customized, however at the time I didn't recognize the format (they are not 3D LUTs). And if we can find a way to read exposure levels maybe we can get the time-lapse to auto-correct the exposure, and completely automate it for sun sets/rises.

https://www.produzionidalbasso.com/project/turn-your-samsung-nx-camera-to-full-frame/

It's funny you say that, because I was just watching a video on vimeo and I was like damn this looks good. Went into the comment section and to my amazement the guy who made the movie mentions that turns PP off and leaves everything at stock settings. Here is the video:

Hello everyone, Are Sony engineer smoking crack? I rent the sony A7SII camera, shoot some SLog2 footage and oooh my god it's horrible..Skin tones look like corpse, sky look like on LSD and those file are impossible to transcode. Can you share your workflow to color correct those horrible colors on DaVinci resolve? Any free LUTs to recommend to me? Thank you

I really like to shoot anamorphic and i spend a lot of time doing little researches, which leads me to invention that i want to introduce. I've learn a lot of information from this subforum, so i want to share my idea here. I believe it gonna be a second breath to independent anamorphic solutions. So I came up with what anamorphic lenses was originally created for: using whole image sensor area with benefits. Back then there was a film and now we have a 16:9 standart for video and to use it properly id suggest a simple technology: stack together two anamorphic lenses and rotate a camera 90 degree. And then applied 4x coefficient to 9:16 sensor area that results in 2,25:1 ratio: Of course if u shoot 4K RAW loosing some data is'nt a problem: u're still end up with proper resolution, color and details and even have nice possibility to recompose frame horizontally. But for 1080p recording cameras or 8-bit codecs loosing some data from sensor not the case, is'nt it?) So what do we have: - 4320x1920 (for 1080p) and 8640x3840 (for 4K) de-squeezed interpolated image that can be downscaled to 1920x850(840) with some color and sharpness benefits - stack of two anamorphic lenses required longer focal (about 150mm for sankor16f/rectimascope48 stack for FF) but with 4x it comes to pretty the same FOV as 85mm/2x on FF. It also requires smaller aperture to get same DOF. So it results in sharper image with same DOF (multiplied by lack of loss resolution in the camera). Of course increased number of glasses results in some lights losses, about 1 stop i think, maybe less. - one of the nicest feature of my scheme: it kills rolling shutter effect. I develope idea of that anamorphic solution with a7s model in mind, it's a great camera which suffer from well knowed issue: terrible RS. But when you rotate sensor and applied 4x stack of anamorhic you decreased RS effect in the final image by 4 times (since RS effect appears on horizontal which is became vertical). From now on forget about RS) - and one issue: its getting even harder to look at monitor: now its 4 times squeezed image. Honestly i always like to shoot anamorphic without desqueezing function that gives me some abstraction and somehow another vision of composition and im not suffering much from 4x squeezing to. Its hard to use monitor to nail a focus but easier with viewfinder. Actually i send a letter to atomos with asking for some cooperation here but got no respond (maybe a reason is my broken english, who know : ) Of course stack of two anamorphots is loosing any ability to focus, but it working well with diopters like usual combo of taking lens and ana - just set them all to infinity. And im asking here for some help. Im already tested my prototype (later im gonna do post about it) with usual diopters and it worked. But to use it properly i need some variable diopters and for now i can afford only SLR Rangefinder, which have not very high perfomance. But since aperture at my taking lens starts with 3,5 it may work. I know here's a guy, Tito, with a lot of anamorphic stuff, i will ask him for test, but maybe anyone have opportunity to try it to? PS I know my English is bad so i provided some pic for u guys)

Hello, my friends. Check out my review of this light. The Aputure Amaran AL-M9 https://www.youtube.com/watch?v=3efWnuNk_nk&feature=youtu.be

A Nikon perspective: I've progressed through the Nikon D200, D700, D7000, D5300 and D750 and used all of them pretty extensively. I have no qualms with the build quality of any of them for travel and landscape. Sure, if you throw them onto rocks then jump on them, some will survive better than others. But in day to day use with being reasonably careful I've never found build quality to make a material difference for indoor/outdoor use. I have however, found the weight and size to make a material difference, and I generally prefer to take the smallest and lightest camera when travelling and when weight and space are at a premium, so the D5300 is a real winner here. In terms of image quality, the D5300 (and hence D5500) is significantly better than the D7000 and consequently I would pick the smaller and lighter camera for its IQ over the D7k pretty much every time for every application, so much so that I rarely used the D7k and in the end sold it. For travel and landscape I've often paired the D5300 with the 35mm 1.8 (small, light, sharp and cheap) and been done with it. I've taken some very nice panorama landscapes in the bush and stitched them later in photoshop, so carrying a wide angle is less critical in that application. One real world limitation vs the D7xxx series is the slight increase in shutter lag and more button presses at times to change settings for the D5xxx. So for events the D7xxx series is a bit better in that way, being somewhat more responsive and with some more dedicated buttons for ISO, WB etc. But again, if I had both the D7k and D5300 at hand for an event I'd likely opt for better IQ and go with the D5300. For video, as others have mentioned, the D5xxx is a lot better, not the least because of the articulating screen, and because you get 1080 60p and a better overall image. Of course, the D750 spanks all of them all round, except for size/weight, but it's a lot more dollars and the lenses are bigger and heavier. Even with the D750 available, when size and weight are important I'll often take the penalties of the D5300 and leave the D750 at home. For my uses the D5xxx series packs a lot of bang for buck. Paired with a 35mm 1.8g, the Sigma 18-35 and something longer, it's pretty darn good.

120d http://www.newsshooter.com/2016/09/11/ibc-2016-aputure-light-storm-120d-is-the-daylight-version-of-their-120t-led/

My bad, I thought they were around $150. HDMI In only. No HDMI out, no SDI at all, but it less than $300. It's a little contrasty, but the focus peaking seems as accurate as the NX1 and the false color sure is handy.

Your first post was fine and i completely understood it. Sorry for the confusion. Back at my desktop I gave it another try. Just love to grade this footage!

Definitely something to keep in mind. Thanks. I travel around quite a bit for business. Wish I'd known this when I was in Venice a couple of times this summer. Usually my schedule is pretty tight without much room to go roam around, but this summer I actually had some time to explore. Although... I had only checked the 50mm (the standard focal length I like a lot) that was quite cheap. It didn't quite imagine some of the others hitting a pricepoint of 4515,- EUR till I saw that them listed at that Italian retailer (for those kinda prices that's as well proper Zeiss CP.2, Canon CN-E and Schneider Xenon FF level, although those being very chunky lenses still of course and only the most expensive PrimeCircle is around that pricepoint, the others are still quite a bit cheaper (like the 50, I guess nifty too)). Currently I have the Veydra Mini Primes (at Kickstarter price), which serve me well and are at a pricepoint that kinda makes sense for the level I'm at (hence 'Filmrookie' below my nickname). But maybe in the future, doing more legit projects, when I need a set of lenses to cover bigger sensor cameras, but are still kinda cute in size... these definitly will fit the bill. Also. They have some great other stuff going on there with cages, matteboxes and other accessoires. All 'made in the Europe'! Nice.

I will give your regards to Vova Now his brother Arthur help me, because he have a lathe )))

Sigma said they expect their lenses to be under $5,000, which makes me think they'll be in the same ballpark as Tokina. They do look very nice. But I think I'd rather have the $850-900 versions and save some money.

Vova's the man! Fantastic work.

A quick test with the very good EOSHD C-LOG on a Canon 60D. The limiting factor in some situations: the 8-bit codec.

Anyway, I think that you do not live far (Vienna) by Lookcircle Via della Libertà 1/A - 22012 Cernobbio (Como) - Italy ... I also think that if you want you can go and see them ... for Italy distributor is here in Padua. http://www.ramaidea.it/it/

Hi! Yes, 2x, but in this distance (1m ~ 3 ft) stretching less than 2x. Now I use this construction. Setup written in video. But it's very heavy for me and my back, if I don't use a tripod :-( but the cheapest solution I'm working on a lightweight design and single focus (make from 2x to 1.33x, if possible) for this lens.

I'm not sure, John. The work around you suggest will work but needn't be done. In 2016 all these features should be standard. Panasonic is either just ignorant or technically incapable of implementing such features. The issue over here in HK is that's it's so damn bright most of the time, when street shooting you just want to set the shutter in at min around 1/320 and have the ISO float when you move into dark areas like alley ways or heavy shadows. Or when in bright areas it will just raise the shutter speed. Many say just use manual and set the shutter speed but the issue with this is that you get a massively overexposed image a lot of the time. You miss a lot of shots in the street when having to fiddle with unnecessary settings. I found the LX100 to be super frustrating ... there's like 1 million moves to go from taking stills to shooting video with a correct shutter speed LX200 won't be any better I reckon but lets see. I haven't shot with it enough to realise it's that good at the wide end. Hopefully the EM1 mkii has decent video but Oly always find someway to frac video up ... maybe this time is different but wouldn't bet on it. The IBIS for sure will be amazing. Going to borrow my friends 30/1.7 next week and test it out on the GX85 for stills & video. Looks like a nice little lens ... as does the 42.5/1.7.

Someone really needs to do a "Hitler reacts to yet another Hitler reacts" video...

Anything like that would be excellent ... perfect in fact. At the moment with my 16-50/2-28 I usually compose the shot with the AF point where I want it on the subject ... physically switch off AF on the lens ... press AF/ON which I have assigned to lock exposure ... then press record. I do this in "S" mode with shutter @ 1/50 and a 3 stop X4 filter on. Works nicely from run & gun street type videos. What you are proposing (focusing first, then starting video-rec in manual) would be great !! Cheers.

Yeah, for sure, don't get me wrong ... nice camera and jammed with features. My beef is with the they way the approach ISO / min shutter etc but not just that ... I find it strange that Panasonic chooses not to tell you what ISO the camera is choosing when shooting video and in "S" mode in video the chosen aperture is not displayed either. Guess I'm just spoiled with my NX1 and my Nikons and their software. Samsung seem to have the usability and menu systems very right on the NX1. I have also found that the features I'd like on the GX85 do not seem to be present on any Panasonic body which I find amazing. It must be that they are not able on a technical level to be able to program these things in ... doesn't seem like any other reason they would leave them out. With regards to the IBIS, maybe the 12-32 is not as great as other lenses. I was expecting more though and I am guessing, but once the EM1 mkii is released it will considerably steadier than any of Panasonic's offerings. As mentioned, OIS combined with DIS on my NX1 seems much steadier and way less "floaty" than the GX85. Definitely a lot better than the LX100 though which is why I bought it ... and not too much bigger either. I'll continue to use the GX85 and test it. Want to get a 30/1.7 and a 42.5/1.7 for it.

@lucabutera great news, but may I suggest that you don't call the dumb adapter "dumb" but "manual"? This does not sound nice at the end " Receive the NX-L dumb! "

Works well enough when doing video though.

Played around a second. Nice footage might be worth a look if they ever release the camera

Dutch? German (Deutsch; 'aus Berlin'). Luckily I know both. He says the AF as well 'important' as it is 'convincing' and 'impressive'. He doesn't really like the quick AF, but thinks it probably has its use in some scenarios. He indeed mentions that one shot when she's moving towards the camera that usually would require a focuspuller and now the camera can handle a shot like that by itself.

Get rid of the D7000 and buy a D5500? Would make sense for someone familliar with Nikon. It has very nice video actually at 1080p60 and a flat profile. Of course, if the thing that attracts you is the tinkering around with settings and experimenting with features, go ahead and get any of those you mentioned. But all it will do is create more perhaps unneccessary post processing when the D5500 would be very straight to the point. Just my 2cts. Gd luck.

This is a typical filmmaking story: no time, have to hurry up and of course no budget ? This is a story about the shoot of our music video and about the mistakes, which you should avoid. The band: 3 people + me (also the director of the shoot) The crew: 1 DP, 3 assistants The lights: 5500K thungsten studio lights + Small Aputure Amaran portable LED light The camera: Lumix GH4, Mitakon Lens turbo Lenses: Soligor 1.33x anamorphic adapter, Pentax SMC 50mm f1.7, Tamron 17-50mm f2.8, Canon EFS 18-55mm, Canon 85mm f1.8, Gear: Shoulder rig, Fotga DP500II follow focus, manfrotto 550 tripod + fluid head, 2m home made camera slider The pre production started one month before the shoot. I did everything myself: I wrote the script, made the storyboard, wrote the shotlist, etc. I tought that I am fully prepared, but I wasn’t since the whole video was shot at night with a very limited ligthning setup. I did not have the time to try out what are the best settings for the GH4, but will get back to this later. A month before the shoot I sold my AGFA 1.5x anamorphot, which was a very-very big mistake. I missed two great anamorphic lens deals on ebay so 5 days before the shoot I was without anamorphic gear which was one of the keys to the videos feel. Just few days before the shoot, an EOSHD forum member offered me a 1.33x Soligor and I took it. It arrived 2 days before the shoot, so I quickly checked the fastest aperture I can use, than I had to realize: there is no way I can shoot every scene with anamorphic lens attachment. I have my GH4 for 6 months now, before it I was shooting on 5D MKII & t3i. When I got the Lumix I automatically set my PP to James Millers (i really like his work and trusted his settings). After shooting on several live events it performed great, it was easy to color correct and the image was pleasing. Too bad I didn’t read Noam Kroll’s article on GH4 PP settings before the MV shoot. I screwed up, and I did the worst thing that a videographer can do: I trusted my cameras LCD screen, not my knowledge and instinct. I was reminding myself, but we just simply did not have the time to figure out the best settings. Never trust your camera’s screen (but you already know that). The location was nice a huge house with a garden. The first 1,5 hour went to packing and setting the stuff up, than 3 hours was the filming of the band with a very easy 2 light setup + 2m dolly. We thought that it would be great if the band is sitting while playing, but to make sure we’ve got everything, we shot the band in a standing position as well. And we did good, I ended up using just that one shot, because the sitting did not work as expexted. When we moved outside I switched the anamorphot for a Pentax SMC 50mm f1.7, I shot it wide open, than I cropped the footage. I think I was shooting at base, 400 ISO. On the screen it looked okay, in fact blacks were crashed and the image was underexposed, which caused me a lot of noise. This is why an external monitor is handy. The story part was filmed in 3 hours. There were 15scenes/34 perfect shots I had to make, the first 5 shots already took one hour of filming. We were getting really stressed that we can’t finish the shoot that evening. This stress caused a lot of trouble, we did not had the time to figure out the best lightning, we forgot to double check the camera’s settings so I filmed the half of the evening with wrong shutter speed which caused me a lot of flicker, bad ISO settings, and we didn’t even had the time to check the filmed clip to verify if the focus was pulled badly or not. During the post production I found out that some of the scenes are really blury, so I decided to go back, ask the actress once again, and reshoot some of the scenes. But I did not have my crew then, and I sold my soligor meanwhile, so a small Aputure LED was my main light, and i used a Tamron 17-50 f2.8 lens to reproduce the soligors 24mm anamorphic feel. I feel sorry that I did not tried to shoot it with a 2x anamorphic lens, that would give it better depth and flavour. This all caused me a lot of trouble in post production. After cutting the video I had to spend a lot of time in after effects to remove the flicker. Grading was like hell, the picture was absolutely orange, we forgot to set the white balance, so I tried to grade it with Resolve, but the XML does not went through properly because there were too many interpreted footage (from 60 to 24fps), etc. Than I tried to make it happen with speedgrade but after messing with the clips I stayed with Lumetri colors. Every clip is graded with lumetri, well it took me around 10 days to adjust each clips settings, and it’s still far from perfect. Than came another issue: the noise. I tried to reduce it with denoiser, which helped me a lot, but it made my premiere really, really slow. Anyway, here’s the result, it's not perfect but I did my best to make something watchable from it And here’s a cut to show the difference between unprocessed and post-processed footage. What do you think guys? Cheers! Alex

I really do think the GH4 looks the best, and that surprises me. I figured I would go A7rii, 5d iv, and then GH4. But it ended up being the exact opposite.

Neat! Grazie! Looks like his are customs as well. You know, normally companies ask 500% of the actual worth because it's a cinema line-up. These are 30% more expensive modded out and are stunning!

I'm very surprised of the versatility of this footage. A lot of Kinefinity footage I've previously seen online has been very brown and muted, this however is very flexible and easily on par with BMCC Prores. Perhaps even better - I'm seeing pleasing results much faster than usually with the BMCC. Getting very close to 5D RAW in terms of ease of grading. I was able to whip up a grade I'm happy with in a matter of minutes.

Point taken... Yes I was being lazy. So here are some heavy handed grades to see how far this footage can be pushed before it crys like a little baby. And I can tell you it seems to hold up pretty dam good. Lots of room to get some crazy color grades and it keeps it's cool. This footage is definitely more robust in post than anything from a DSLR. I would love to get my hands on one to see how it handles in the field.

wow I am really unimpressed with the 5D iv.

But do you carry it everywhere?

I enjoyed that . I starts looking really really good towards the end when things get a little darker. I think cameras are becoming like film stocks . Pick your flavor and shoot. Thanks, Tim www.tjphoto.net www.thefilmdivision.tumblr.com

No specs. Because Canon hasn't decided what feature they are going to disable by firmware yet.

We will never bow to you, J'f'r!

Absolutely adore this look. Great stuff.

Forum members, I just thought I'd point out that this guy is the founder of a questionable Polish militia "boot camp" facility which trains French civilians to semi/automatic firearms & combat warfare (which is illegal here) around a clouded political agenda that seems to cover up under anti-terrorist legitimacy. He is here asking questions as no French videographers (to whom he referred to me in another thread in french as "hipster faggots") seem to want to be associated with his borderline propaganda activities . I'm all about freedom of speech, but I just thought you guys should know who you're helping out here.. not exactly your ordinary fellow videographer.. As for the A7S2, it's color science & S-log. I often here it berated here and it isn't the easiest cam to work with and S-log does require advanced grading skills .. but in the right hands I've seen some really superb work done on the S2 and it sure packs a lot of punch in such a small package (and price compared to the FS5).. and this is coming from a Canon guy!

something like that (also u can make some covering to avoid reflections and atached it to front glass)