Leaderboard

Hello: Again the boys lantern MGIC surprise us. A1ex, just determined as record the raw video in 12 bit or 10 bit, although it is a finding emerging, it is only a matter of time to debug the application and develop a specific module raw 10 or 12 bit. As you know, the problem of actaul RAW 14 bit, is what is fantastic, but you need very fast and stable cards (1066x) to record on average 4gb x minute and sometimes, depending on the quality of the card becomes unstable recording . With the current discovery means we can record RAW, but with greater stability and less space or at a higher frame rate. Today is a great day for the Magic Lantern filmakers community. regards Katrikura Sorry for the bad English http://www.magiclantern.fm/forum/index.php?topic=5601.300

the real question is, what happened to 2.7k? it would be amazing to see all these 4k capable cameras that can to 1080p120fps to add an 2.7k 60fps mode.

I just wanted to share that I've released an iOS app that is kind of like the pana app, but full screen and with some basic image controls; anamorphic de-squeeze (1.33x, 1.5x, 2x) and brightness / contrast / saturation for working with V-Log. Here's the App Store link: http://bit.ly/scopes-ios-app Video showing lag is comparable or better than pana app Scopes app + GH4 + SLR Magic Anamorphot 1.33x Scopes app + G7 + Möller 2x (G7 is not officially supported and needs you to start pana app first) App Store link: http://bit.ly/scopes-ios-app

I agree, the new proxy system has been a breeze, especially since for the most part I'm editing super high-bitrate h.265, which tends to bog my machine down once I get some effects and color correction on there. Toggling that little button keeps things nice and smooth, and is really simple to use. I started editing a new project with the update yesterday. Some of my third-party custom effects presets aren't working in the new version and will cause a freeze, but other than that the RAM leak issue seems way more under control than in the previous version, so yeah... so far, so good!

Its a little complicated due to the fact that the outer surface of the Speed Booster is concave. But you should have at least 1mm of clearance with this particular combination. Note for anyone else reading this post that the Speed Booster XL for m43 has more clearance than a Speed Booster Ultra for APS-C.

It looks good, Im upgrading my CPU to core i7 4790K (hopefully will overclock it to 4.5) and also my GPU to an AMD card. If you are planning to use FCPX for editing I suggest to get an AMD card, the most recent one that works OOB is R9 280X, you can even find them second hand for 100~150€ if not AMD then probably GTX970 or GTX980. I don't think we would get support for 10xx series any time soon!

This. My issue with selecting lenses is that the Voigtländer was the first real manual lens I ever owned & used extensively. It raised the bar astronomically so that all other lenses dont "feel" good when using them.

2015.3 works on my PC somewhat smoothly. On my Mac it has the strange "conforming" bug. Not the most elegant software, I admit, but it's like a supped-up cheap Japanese sedan running on a race track. It can do what it does half way decently. However, it just feels like it might fly apart at any given moment and wasn't engineered to handle the stress put on it. I never feel like I can totally trust it. FCP7 had a lot of limitations, but it felt solid within its parameters. Maybe with Premiere I just need to add a huge spoiler to the back of the hatch? That outta do it.

For those looking at an alternative to the Zoom F8, I noticed that B&H has a "New Arrival", refurbished Rolland R-88 units selling at nearly half their launch price (I guess Zoom is providing some serious pricing pressure! They might even be new units, and only "refurbished" in name only?!):https://www.bhphotovideo.com/c/product/1286630-REG/roland_r_88b_r_88_8_channel_recorder_and.html

Shot this on my GH4 in one night. Used some color foils on my cheap Yongnuo YN300 LEDs and my Panasonic 20mm 1.7 lens. Recording was done internally in 4K DCI VLOG 8 bit, so some artifacts are definitely there. Tried to create a dark, gritty but colorful look. Still in love with this small, little and reliable camera. Director, writor and main actor: Uche Aguh

Hey Dan, I have been trying to light things with cheap tungsten for the last few years and I think it really depends on what you are trying to do with them. They do the job very well for their price but also can be a pain in the ass to work with for instance if you want to get even exposure over an area. They get hot and in a small studio you will get hot, too.

I got the Dedos last night. A lady got them for a theater production and had them laying around for quite a while untill she decided to put them online for sale. I had a good fiddle with the set and the way they work beam/flood and light fall or lack thereof made me getting them. Thanks again!

If sharpness is what you are after, you are better of shooting spherical. However, some scopes are indeed sharper than others. The Cinelux and Isco Wide-screen 2000 are commonly considered to be sharp scopes, but imo pretty 'sterile'. I did a quick lens test for a short I am shooting:

I like the Fujifilm, but Olympus has always been good with color too. Plus the new E-M1 Mark II has insane speed for stills. Does feature dual card slots as well, but then has that vari-angle touchscreen. Comes with 4K and a flat profile. And does feature the 5-axis in-body stabilization, something the Fuji lacks; then features both mic-in and headphone jack to really make it a nice allrounder. What's not to like? Well, people are complaining about the hefty price tag 1999 USD/EUR, 1849 GBP. There's some seriously capable glass out there; albeit also with a price tag. The 7-14 & 12-40mm PRO zooms for example. 75mm f/1.8 is like the crown jewel for portraits (I always enjoy the shots taken with one on the weekend showcases over at 43rumors). Use one of them all manual f/0.95 lenses and enjoy sensor stabilization! If you don't really need the APS-C sensor and Fuji mojo, I'd definitely consider that one. Can't wait to see more from this camera. Or... if you can live with 1080p, maybe the Nikon D750. Or like mercer did, go with the D5500 even. Those always grab great stills and nice bits of video. Just hope you enjoy using an optical viewfinder. I'm no fan, so I do love the sensor performance of my D5300, but I don't really enjoy shooting with it at all. That flippin' mirror drives me flippin' mad. I'm a mirrorless-kinda guy I guess.

Looks awesome. Can you make a bit longer video about the usability, etc.? Thanks & keep up the good work!

Thanks! This seems to prove in turn @bunk's theory: i would say that placing the filter between adapter and lens yields an image that has much lens flare/haze, yet the filter effect is reduced. I think i could live with that, awesome @Justin Bacle

They were good cameras when they were new, I still use one as a B or a C camera with great results Even with 10b raw, I don't think the bandwith is high enough though :s

Very unscientific test (as I don't have step-up and step-down rings nor do I have a Tripod as I am in a Hotel for work right now) Used a flashlight to create side lighting. But here it is. I think I proved your point No Ultra contrast filter : Filter In Front of the anamorphic : Filter between the adapter and lens (sorry for being a different shot, as I did have to put everything on a table) :

Apart from how you want to place the filter inside the speedbooster (sillyputty comes to mind) and keep it there, I think you will reduce the effectiveness of the filter significant. The APS-C lens through a speedbooster will pass almost all light to the m4/3 sensor and thus in effect use the complete filter diameter of 72 mm. The effective diameter of the lens inside the speedbooster is only 32mm. That's trashing a lot of filter. Just something to consider.

have not seen it yet. probably tonight or over the weekend.

Well for R9 280X the only downside after release of El Capitan is you will lose sleep/awake which the workaround would be disabling sleep for your system but not the monitor. If having sleep/awaking working properly is important for you, your only option is nvidia! 960 970 both should do fine. No I don't have it yet but soon, with PCPX considering you have i7 3770, should handle them (GX80) just fine.

Hands down, GM1 and the Voigtländer was really a next level combo for me. I disagree with you jonpais, pictures are not shaky as hell. The good thing is that because the cam is so small, you hold the lens(!) with one hand and the other one focuses - no need to hold the body since it is just a bigger lens cap. The following videos were shot by me with this combo, with no gimbal, tripod at all - not even a neckstrap to stabilize anything: https://vimeo.com/112851875 https://vimeo.com/106980788 https://vimeo.com/101335718 https://vimeo.com/96670129 https://vimeo.com/89190460

Sure, but hey, you can't get everything right ? :D I would be insanely happy with 2000x1080 12bit Raw continuous recording on the mighty 250€ Canon 50D !

I guess Spain, Portugal, Southern Italy, Southern France, Greece have very similar working conditions, add to this that Greece has by far the least working rights and the smallest salaries anywhere in the Western World right now..you get the point, why I count every euro! As I said, a small and cheap mirrorless kit is a must have for small jobs, or when you need to pack light and small, but in the end, when you have to decide between camera body + good zoom lens (for the f stop mainly) - cage - monitor - microphone/external recorder, OR C100+18-135 STM, then the Canon doesn't seem that big anymore. And when your small mirrorless kit worths more money than your C100, then again, C100 seems more appropriate! The JVC is a very underrated camera. People just ignore it, they shouldn't. The variable sensor is God send (and in-house manufactured from JVC), if GH5 has a similar sensor (isn't JVC owned by Panasonic anyway?) then it will be an instant hit, negate the small sensor (but true) argument, and adding much more versatility and innovation. Instead, they are going for a 18megapixels one? That is certainly a weird number (as the Sony sensors right now are 16 and 20), so we have to wait for more info, and pricing.

Yes, but any gains in resolution are only offered by the crop mode with the stuttery greyscale preview - it's off center and quite difficult to follow live action. The normal mode and 3x crop fast preview mode are limited to 1920x1080 AFAIK.

What you get with anamorphic is : - FLARES, Oval Bokeh, and all the things that are specific to anamorphic adapters - Increased seen vertical resolution (compared to just cropping) Some anamorphic lenses are damn sharp and not prone to flare if you're not into that. (Look at the Ultrastars, Cinelux and other coated modern adaptors)

Yeah hopefully it's more stable. 2015.3 for the most part was stable for me, but on one project last week, out of nowhere, it was freezing, stuttering, crashing, giving me errors, using an insane amount of RAM... I don't know what unholy combination of plugins, proxies, and footage from different cameras in that particular project combined in such a hellish way to make it behave like that, but I was about ready to throw my computer out the window. Fingers crossed here.

Far dues. Same goes in south west Europe! I have a Canon C100 and it's great but sometimes it's just too heavy to lug about all day! I think we both use DSLRs in the same kind of low budget jobs that you get in these parts. Usability, video quality and price will determine whether the GH5 (and MFT) can survive in this rapidly evolving and cut-throat market. I hope it really lives up to expectations and comes in under 2000€ as I really need a light weight alternative to the C100 ( and I have some lovely MFT glass!).

I agree about the waiting game. If they fix the IBIS in the G85 I'll probably be perfectly happy shooting with that, with an external recorder, through the end of the summer. And who knows what Sony will do. If the rumors of the GH5 price being around $3K are true, I think that will put a bit of a dampener on the excitement for it. I think it needs to be no more than $2500. $2000 would be pretty killer. And at any of these prices, IBIS is a must. If Sony does an 8-bit 4K60 A7III, at say $2000, or the A7S/RIII is 8-bit 4K60 at the same price as the current R and S, or goes 10-bit at say $4K, the GH5 may not be as much of a coup as it would have been all by itseld in Q1.

Lovely cinematography as always Ed. The grade is similar to some of your very filmic MX footage (the Cuba one is particularly gorgeous, in case people here have not seen it): It's a different kind of look for the F65, as I don't see that type of desaturated look (in this case, with a heavy teal/blue modern grade) applied to this camera very often.

Dji Mavic looks great

Pleaded: https://www.youtube.com/watch?v=vK5DigCpzeI&lc=z13qxtqyrvuus1g5a04cjnlrysrgvz4gvlc0k.1478039068043991

think i'll rent that tonight. thanks for sharing the article/video.

Here's an interesting article my friend found. https://www.google.com/amp/s/filmmakermagazine.com/88000-the-limits-of-quality-control/amp/?client=safari And here's the trailer...

There are millions behind the sales air race, that's the reason why. Pity that both sides don't choose to release a better and higher bitrate codec...

Indeed, curious the fact in the last couple of months, there are more reviews involving GoPro cameras but, I see no review on Mavic Pro: https://www.youtube.com/user/wired/videos In any case, there was one Mavic unit for this Karma review. He seems to have forgotten to review the new DJI bird :-)

A few ones more: Interesting color case study: The last two -- the embedded option is not available, Fall 'according to Mavic': https://www.youtube.com/watch?v=dBq_LWDswko https://www.youtube.com/watch?v=cKsYoUcwDfQ

Everyday more clips pop up everywhere. I guess this will be one of the hits in the history of the camera. Take those "unbelievable" remarks with the necessary pint of salt, obviously... : ) Another low light test: To those who still praise action cameras look ; ) beyond the obvious limitations also shown by Mavic, here's some chance to compare both: :P From an Indie perspective: Interesting stability test: Here's a comparative review with Karma: :-)

Sad to come and pee on the parade... the introduction is pretty straight, though:

From the video, it seemed like it was all done in camera. I think the concept is that the different "film stocks" work like jpegs would for stills. Not a whole lot of latitude for post work, but they look good in camera... Like having film convert minus the grain built into the XT-2... But I am no expert with Fuji cameras.

Thank you! I honestly cant remember, its been quite a while, but it wasnt too hard, Ill try have a look and try to get something for you Im currently testing some new settings, heres a few examples, these are all separate projects, so they all have a slightly dif. look. These are all videoframes, and not pictures, as soon as im done testing these settings, ill share with you guys! Im considering creating a specific lutpackage that could be sold at a very affordable price, what do you guys think?

I dont think it looks bad, I think it looks way more filmic than the P4 with its oversharpened settings. This is the first drone im really excited about, but will wait for some more stuff on it.

it is alot cleaner in low light - the blacks are stunningly clean, cleaner than the Red Epic we tested it against, image looks very similar to the Arri Alexa we tested it against - there is hardly anything in it !! amazing camera from Panasonic , the G7 camera lets you shoot in the shadows very cleanly in very low light. I am using 4 Panasonic G7 cameras for the new Pandora feature film I am DOP on , Panasonic have partnered up with us for this movie and we are working together to show how good the G7 is a film making tool. I am using Metabones XL Speedboosters on all the cameras, Brian Caldwell and Metabones have kindly supplied them for us to use in Nikon and EF mount . We are using these with Atomos Ninja Assassins and all the rigs for the movie are supplied by Gini Rigs , I will post some pics of these rigs soon.

I have just been sent a ProRes file recorded in 4K UHD off a Panasonic G7 via the HDMI out onto a Atomos Ninja Assassin , on checking the file in Quick Time movie inspector it says APPLE PRORES 422 (HQ) 3840 X 2160 25fps 744.97 mb/s So it does it the G7 streams 4K UHD out its HDMI out !!! - amazing this is now a serious film making tool when paired with a Metabones Speedbooster XL and Nikon 2.8 Zooms lenses

I'm surprised at the lack of chat about how lighting affects color rendering. Yes, there are a lot of sloppy grades out there for the A7S, but how many of these people used the ISO function to digitally enhance the lighting on their subject? Probably many. I did a test with the A7S with a model and used the ISO to expose the image. Then I did the same but used 2 LED 1x1 and a Dedolight as a kick instead of boosting ISO. Surprise, surprise - the colour and overall image quality was a million times better! While this is blindingly obvious, I see a lot of critique on the quality of camera footage from tests, yet these tests didn't utilise the simple practice of using proper light sources. So when we say LOG is crap in 8bit, what footage are we talking about? I expect it will look like a cocktail of sick, shot at 80,000 ISO on the A7S. Also how many know how to expose a log image properly? It's very tricky until you "get it". I get it wrong often, lots always to learn. My opinion, 8 bit is mostly fine for log - just don't expect it to work wonders in certain conditions. Use decent light sources, expose properly, set up the WB correctly and results should be great! Canon has better log than Sony (based on color) and the major difference with 10bit for me are smoother gradients, deeper colors and greater tonality.

It's fun to be black and white about these things, but there's a reason high-end cinematographers require Prores HQ at an absolute minimum. Also, why's everyone bashing the BMPC? It's not great in low light, but the highlight rolloff is actually really nice. Andrew: There's a slope of diminishing returns going on. 14 bit to 16 bit is a pretty small difference, 14 bit to 12 bit is noticeable but not huge, 12 bit to 10 bit is a drop in quality but acceptable if you want efficiency, and 10-bit to 8-bit is absolutely huge. If these distinctions didn't matter at all, why would professional cameras offer 12-16 bit recording? If they could get the same results with less back end, don't you think they would? How can you argue against the importance of color depth when you just spent an entire article railing against a 4:2:0 camera for not matching up against the colors of your 8-bit 4:2:2 camera? How can you argue against the importance of bit depth when you spend so much time talking about LOG profiles, which are designed for the sole purpose of imitating the same tonal precision as larger-bit footage in a smaller container? I'm not denying you your point of view. If you think 8-bit is awesome, okay. But it's important for a reviewer with your level of clout to be clear about their priorities and thought process, as that informs all your conclusions. Sometimes it feels like you've changed your mind about fundamental things without telling anyone, which makes your thought process as a critic a little inconsistent and tough to follow. Sorry if this comes across as rude or over-critical, because I don't mean to be. I've written as a film critic for a few years and I know it can be a struggle to get people on board with your train of thought. But there's an important difference between "10-bit doesn't matter" and "10-bit is nice, but I don't think we need it. Here's why." Just a matter of clarity. Cheers.

4:4:4:4 12 bit raw means nothing if the sensor's readout or photosite information is limited - it's the back end vs front end I think a few people made that point in regards to the BMC 4k camera. So many factors to take into account than 8-bit vs 12-bit, and log vs raw vs rec 709 - Ebrahim made this point really well in his post on all of this. Just find a camera that you like and learn how to light and compose better. By messing with instagram on my android galaxy s4, I have found myself getting better frames in my cinematography work. Not endlessly speculating on what camera will give me what I need in codecs. Just by shooting with a crappy camera and figuring out what I can squeeze out of it.

Shoot log with your wb set up correctly and you dont need to do any grading at all! - just use your curves/levels to get to the contrast level which leaves the highlights unclipped, themids natural and the shadows not crushed. then boost saturation if required.