Leaderboard

Yeah I can't wait to get mine either! Checking my mailbox every day ha. I plan on using mine for stills as well, so I'll post some detailed 28mp shots of with and without for sure, for proper comparisons. But it looks to be holding the detail really well! Of course we're all sad that Samsung abandoned this great camera, but at the same time I very much doubt anything like the NX-L would ever have been created otherwise, so it's quite the silver lining. You rock, @lucabutera!

Now we are talking. inspire 2 announced with 5.2K raw and 4K60fps raw. H265 is here too. And they will have a new kind of Osmo for it. In 1" or 4/3 format. You pick. Isnt it funny that the best specced cameras on the market are released by a drone company without video experience? VS jokers like canon who will release 4K60fps raw and H265 in a camera of the size of a GoPro in maybe ..... we'll never. http://www.dji.com/mobile/inspire-2

So I again have the camera in my possession and I tend to keep it this time The other options with their pros and cons listed: Panasonic G80 - Great usability and it has IBIS. / Poor skintones, lack of faster 35mm equivalent lens, poor handling of flares. Canon M5 - Smallest option, esp with the 22mm (its 35mm equiv lens). Great touchscreen AF. / Poor video quality (judging by the 80D's videos). Nikon D750 - Best and most affordable lens selection. Superb colours and tonality. / Bit too big, poor live view AF. Sony A6500 - Touchscreen, IBIS, good affordable APS-C lenses. / I'm betting will have the same crap 1080p and jello 4k as the a6300. Of course this camera is not without its faults. A lot of the lenses have noisy aperture and/or focusing motors. It doesn't have IBIS or touchscreen. The DR option is disable in video. I think the AF in video mode needs more work. I'm confident its addressable in firmware. Fuji, if you are listening... Basically we need to be able to have smoother focus racking and an adjustable rack speed. Also we need to be able to use back-button autofocusing when in manual focusing mode (like what is possible in stills). And we need a way to lock the focus whilst adjusting the point. I plan to skip out of this forum a while now. It's been doing my creativity no good I will come back if I have any more tests to show you (here's one and another) or some more artistic footage.

Here a quick test were you can see something.Of course the light is quite shitty, but the day out was horrible (a lot of rain)... It's made with my vintage lens m42 Takumar smc 35-50-200 mm.I think that if we want to test possible purple fringe we have to use a newer lens(my takumar has just purple fringe without the adapter...so..)As you can see the increase of light is really good and the sharpness too, in all of the frame for me(I ve to make some test at work with a grade 1 monitor for really better result). I've noticed a little flou effect on 50mm takumar at 2.8 f..I've to investigate better because I'm not sure that is the adapter. All the clips are taken with a tripod in the same position. I will post the camera setting later, and a wetransfer link with the original files(this are converted in h264 from Premiere cc ...sorry but I've to work again this evening, I hope that this will be useful for someone! p.s. when I have buied the adapter from Luca I've to tell that I was thinking..."why I've to spend all of this money for a simple piece of metal with a lens ...when I've see the piece I've understood that the construction is really complicated(if Luca want, I can post some detail of the adapter..) Grey

those kids should JUST MAKE STUFF thats my advice they should edit together *something* before they even know it having them start doing things to ask questions about asap, capitalize on that innocent enthusiasm~! like heres an exercise: tell a short story about nothing with your camera. a girl making coffee, thats it: thats not a story, but in terms of various shots that make a visual narrative through juxtaposition and other techniques of the language that we call cinema, of course it is! dunno how your workshop is structured or if any of that is possible lol, but at the very least id encourage them to USE WHAT THEY HAVE, AND SHOOT STUFF.

Nice work @kidzrevil - what delicious filters are you using at the moment? Yes, I've seen it before... and I'm sure I'll see it again! I've noticed it on single frames only. Thanks for posting - great to see what others are up to! Some great tonality there. I totally hear you about detailed shots becoming mush. Must check out kidzrevil's recommendation to try other picture styles with sharpness whacked up. And please do post your lut @BenEricson Here's my shots from a weekend break in Belfast - I can sense the mush in lots of them even when downscaled to 1080p. Camera: 4K C-Log, ISO500, ETTR where possible, WB Cloudy, Tiffen 1/4 Black Pro Mist. Post: white balance tweak → levels → my simple curve posted as a lut on previous page. EDIT: I think my lovely grain did not survive the vimeo compression too well

This guy sums up everything I feel. Thanks for sharing.

You could start by not labelling everyone and listening to people from the "other" side. Otherwise, you will only be producing content that "your" side will find interesting. You want to make this election about race, electoral college, etc...if it helps you "feel the burn" less, so be it. As someone who claims they like to deal in "facts" then you should closely look at the below: 42% of ALL women voted for Trump 4% more white COLLEGE-EDUCATED male and femal voters went for Trump 37% of ALL millenials voted for Trump 53% of ALL seniors over 65 voted for Trump 26% of ALL hispanic voters went for Trump 29% of ALL asian americans went for Trump Another fact: In the 2008 election, I voted third party. I remember being called racist back then because I did not vote for a black president. Today, I am racist for voting for a white man. The mainstream media lost this election for Clinton. As an independent, I heard NO policy reporting at all. I heard only that Clinton was a criminal and Trump was a racist. Would I watch media that reports policy positions? Sure. To your point...where can I find it? This is possibly your least true statement...this election showed that we, as a nation, are closer to 50/50 than we have ever been. Clinton winning the popular vote by less than 1/2 of 1% over Trump shows this. Some documentary ideas from this election: Why did 7,000,000 people vote 3rd party? Why did the blue and red platforms not reach out to them? What were their deciding issues? What happened to the "blue wall" we kept hearing about? Perhaps people in Michigan, Ohio, Wisconsin, Pennsylvania, could shed some light on this? What really drove white voters to the polls in record numbers? Was it race, being tired of the liberal agenda being pushed onto them, etc? (By the way, how DARE white voters go to the polls and participate in democracy!) Is this the start of the Republican party now representing blue collar voters voters? Why did Trump get so many votes from Labor union voters? What ideas can we advance that people agree on regardless of party affiliation?

I've been putting the Lumix GX85 through the paces... The 5 Axis is class leading so far for 4K video, and the sharpness is unparalleled IMO. I actually shot about 80% of our most recent web-series episode on it. This is our go-to camera for travel and personal work these days.

More good news (well, for certain shooters). A1ex is on the way to fixing the off-centre 5x zoom crop centering. If you weren't aware, in the "5x" grayscale preview crop mode (the one that allows you to bump up the resolution) the portion of the sensor that was being sampled was not exactly in the middle. And the more you'd increase resolution, the more off center it would become. This was a PITA for those who are trying to make precise geometric compositions in this mode as it was impossible to get a symmetrical planimetric framing, or for anyone who wanted to use an anamorphic in crop mode as you would start hitting the vignetting on one side. It isn't in the nightly builds yet, but is on the way. http://www.magiclantern.fm/forum/index.php?topic=17021.msg174866#msg174866

They should, cause the number of different worlds will only go up and I don't want to imagine what kind of president comes then...

^ totally agree Also this was rather funny:

Wow... The new Phantom 4 pro is looking very sweet as well! Really makes me wish they'd introduced a regular Mavic though, and then had the Mavic Pro version have all the cool extra features like higher bitrate, variable aperture, mechanical/global shutter thing (amazing!!) and the better flight sensors. Also 4k 60P! This is just making my choice even harder. On a side note: Wow I can't even imagine how much DJI execs must have been laughing at poor GoPro's karma launch, even without the recall. DJI is absolutely killing it. Exciting times, people!

@Dan Wake previously, in 5x greyscale crop mode the cropped area was not in the middle of the sensor. It was to the left. Soon that will be fixed.

Also on YT: https://www.youtube.com/user/djiinnovations/videos .

Good news! The color luts are complete, I will now create 2 black and white, and a free lut as well. Heres another quick look : Some are soft, others are more stylized. I also tested them with the Nikon D800 files a friend sent me, and they work great! Im really excited to hear what you guys think, what should be tweaked or added and all the stuff you can come up with!

Done! It's great

Indeed. Well, it seems 1600 will compete with the GH5... http://store.dji.com/product/zenmuse-x5s-exclude-lens#/?_k=ydfi1i

Maybe shoot Canon an email or phonecall and ask them. The more they hear from customers about this the more likely they are to do something.

I like what that filter does to the highlights on top of the very nice looking footage. Did you use any stabilisation in post or do you just have a very steady hand

Thank you, I try to do my best on NXL speed booster.

You say its a workshop, is this a one-day thing, a weekend, a semester class? The amount of time you have should guide how in-depth you go with certain topics. Gear-head talk like sensor size or jobs and gimbals are a waste of time if its a half day thing since few will ever shoot with anything other than their phone. The basics of composition are huge. I worked for an after school program teaching photography, videography, ENG and short doc production for 6 years (full time - worked with high school students every day) and I always started with composition, getting them to understand all of the elements in the image and what to avoid. I'd also add nose room when subjects are looking to one direction, lead room for anything moving, foreground and background, framing, leading lines and so on. After spending years working with students, the most impactful stuff we did always involved hands-on exercises on covering a single topic and critical analysis - so they'd take the cameras out and shoot 10 different examples of the rule of 3rds, or shallow DOF, or setting a scene with long/medium/closeups adhering to all the other rules - then we'd review all of the images as a group on a 60" TV and discuss what was good and what could be improved upon (I never say something is bad, no matter how awful, just what can be improved upon to help boost their confidence and start thinking about what's in the shot instead of just mindlessly hitting the shutter or record button, works great). Scavenger hunts were always a lot of fun, a vague list of stuff to shoot - silver, vegetables, fast and so on - the creativity and interpretation was always a lot of fun when we reviewed the results. You can build on them too, so you do a rule of 3rds, then focus on headroom, then horizon and so on, while coming back to what was previously covered when doing the critical analysis part. Its amazing how quickly people pick things up and start to see everything with a critical eye. I always said your grandmother takes a picture, just points a camera at something and click, then you get those crappy shots of two kids at a table with a lot of ceiling, why is there so much ceiling? They love that. Photographers take photos - there's thought put into each image before its captured. My work was all based on a lot of research/feedback from the students as we were grant funded and had to conduct program research to meet certain benchmarks, so all of our lessons were always evolving as we found more effective ways to communicate. I still get FB messages from students that I worked with 10 years ago about how they still think about headroom and nose room when shooting photos or video. And they all shoot video in landscape orientation, an achievement in itself. But unless they're gear-heads too, talk about sliders, moire and other things are just in one ear and out the other. Focus on skill building that improves the quality of their shooting regardless of what camera they're using. Just my $0.02

I made this for fun. I always wanted to do a drum video with three anamorphic lens. I hope you guys dig it. Cheers! 2.66:1 ratio Camera 1: (Front) GH2 with Kowa C-35 1.5x anamorphic lens + Zeiss Ultron 50mm f1.8 Camera 2: (Side) GH3 with Bolex 16/32 1.5x anamorphic lens + Voigtlander 28mm f2.8 Camera 3: (Top) GH4 with Bolex 8/19 1.5x + Olympus Zuiko 38mm f1.8 and Canon C8 wide angle adapter.

If you want crazy fast... Handevision is finally selling at a price it should've been from the start: https://www.bhphotovideo.com/c/product/1056300-REG/handevision_hvib4085m43_ibelux_40mm_f_0_85_lens.html . There's a reason for the pricecut, nobody really likes the hugely overpriced underwhelming lens... but maybe things get a little more interesting now that it's 499,- . Although... probably not.

Good stuff, is it just me or is the bokeh actually a bit smoother with the NXL? Video sharpness is definitely living up to at least 4k, and Luca's post a bit earlier shows it is just about at the limits of what that lens can do without the NXL, looking good. Is mine in the mail? :P

Doc fimmakers can't fill the serious exponentially widening culture gap. few days ago I was reading a debate in a comment section somewhere, one of them asked: "How you explain 11 million illegals working in the country, go to college for free, and even vote!?" The other one replied: "we shouldn't be like Canada, protecting needy people is more important that protecting laws and standards!" They're certainly living in definitely two separate worlds.

Damn you guys with your great videos. Really nice. I haven't had the time to use my XC10 for a couple months now, so I was contemplating selling it rather than it sitting there collecting dust and then I see both yours and kidz work... Seriously Ben, probably the most filmic image I have seen from the XC10... it really does look like 16mm. Was this 1080p?

Little cut I made from some footage over the weekend. Camera is surprisingly good. My biggest critique is still the lack of heavier ND, because anything shot at F11 in the sun is pretty much unusable in my opinion. The camera looks good shallow. Im happy that you can get little quick zooms without flicker, reminds of shooting super 8. All shot C-LOG except the first shot of the rain on the trees and the last clip, which is EOS standard I think. The image stabilizer is definitely really good. The image reminds me more of the C100 than the C300ii. I needed a camera that I could throw on a tripod for double angles and get quick coverage when a larger camera cannot be used. This seems to check those boxes. C-LOG looks like it can be temperamental, but much better than log profiles on most DSLRs.

Yeah...as a European this whole election and its outcome has been shocking, nauseating and pretty terrifying to watch. Here's John Oliver's take, for some laughter to go with the dread: So yeah...fuck 2016.

Small update on the lut pack, I didnt have much time to finish all of them yet this weekend, and I really want them to all serve a purpose and be used for different scenarios, so I will need another week. Heres a small update on one of them, that is actually one of my favorite ones. And full images : These examples were all one click only, no tweaking necessary. This lut will be called Greenleaf.

Thanks for your input Jon. Finally I've found a dealer that offered a body only option, but at the end for an extra 100€ I've bought the kit with the 12-60 and the grip. I agree with what you say about the zoom lens, I just thought that travelling it might be useful to have an allrounder lens, and then use Nikon primes with the speed booster for interviews interiors and more planned stuff. Ideally I would get the sigma 18-35 but I can't afford it right now, but that's my idea use fast primes and then maybe an old and cheap Nikon 100mm f2.8 or similar for the tele stuff when I need it. So for now, I have the Panasonic 25 1.7 for the gx85, the 12-60 for the G80, thinking on selling the 12-32, and I'm about to get a "lens turbo" and a Nikon 50 1.4 or 1.8 depending on what I find around... that's a start lets see how it goes!

I wanted to share my new video I shot with the Baby Hypergonar. Olympus Zuiko 38mm f1.9 was taking lens. 60 time lapse over 3 months. Watch with a glass of wine before bed because it's a real sleeper

Just to let you other FCPX users know, since updating to 10.3 my Log footage ( CLog on XC10 and C100 too i think) has been displaying as totally over exposed. I thought I was doing something wrong in camera but it turns out FCP has been automatically applying Log Processing! I was annoyed but relieved to discover I could use the two days of footage I thought I'd ruined. To turn off log processing go to the info pane of the inspector and choose "settings" view. Then select "none" for log processing.

Solid topics here and confirmed what I was thinking about keeping it simple. Thanks for the advice! Okay, still working on my notes but so far here are the topics I am going to cover... tonight I am gathering reference material and diagrams. Any suggestions would be grand, I will share the finished document with you all in case it may help some of you do something similar in future. I will also give my thoughts on what worked and what didn't later in the week. The kids will have access to my company equipment for the exercises - GH4, Micro Cinema Camera, Shark slider, iFootage Mini Jib, Zhiyun Crane and other stuff. Camera What do you know about cameras? Resolution HD and 4K What makes a camera a good camera? - dynamic range, moire, resolution, noise colour, control, Different cameras for different jobs Links to cheap and good cameras i.F.A.S.T. (iso, focus, aperture, shutter speed and temperature) Doll Exercises, Private Ryan opener viewing, relationships - aperture, iso and shutter diagrams Light Importance of light Colour temperatures (daylight and tungsten and compensation) 3 point lighting (screenshots of build up - excersice on doll) Controlling light (working with natural light i.e. the sun, reflector and diffusion excersise) Composition LS, MS, CU, XCU illustrations Law of 3rds illustration Headroom illustration Zero Horizon illustration Depth of Field illustration Breaking the rules (dutch angle, low angle power shot) illustrations, google interesting shot compositions Exercises in above Movement and support Tripod Rig Slider Steadicam/ Gimbal Jib Exercises and shot examples from youtube i.e. screenrant, andyax, etc Never shoot handheld (show rolling shutter jello, jitters) Cheap phone solutions (links to selfy stick jib, cage, mini slider)

Hi, last xmas I watched all of Werner Herzogs youtube content (having been watching his films for the last 10 years), so I know his methodology pretty well. I love how he suggests that you should get a job as a bouncer at a strip-club rather than go to film school and how you don't need to ask permission to film anything these days - I am going to quote him of both of these comments... Thanks! I think I am going to take that course, and Aaron Sorkins - have you taken that one Liam?

sorry, yes I did finish the course, but I skipped most of the homework. I did a writing assignment - something like write a script for an hour without stopping to think, if possible, just let it flow (but I didn't listen to classical music during, like he said to). I had to let go of the idea that he was the authority instead of just a guy who has definitely made some good films, because that was stressing me out, and I would never have gotten past lesson two.

He's eccentricities have served him well. I never get the sense that he's playing a "wacky creative" role so much as he is an earnest guy and what you see is what you get.

sorry for my bad english if I understand it (maybe I didn't) you are stuck at first task (read the pilgrim). if so I'd encourage you to go on with the tasks, maybe you can leave the book at half, or skip some chapters. maybe the most important seed/root of this task is not to read it 100%. It is understand how Baker describes the peregrine point of view. I have great trust in this masterclass looks the best I have found but I can not tell until I complete it. I'm working for that, doing "homeworks" is exciting in this case (but I didn't like when I was at high school).

I got that assignment before I was letting myself take it all with a grain of salt. He said in that lesson that if you don't read read read read, you'll never be a great filmmaker. I have ADD that makes finishing any book kind of an impossible task. Though I want to try some more, and it sounds like an interesting book, at the time that was only discouraging. I also don't know if Herzog himself would have done any of his own assignments. He's a little too eager maybe to say that he's the pro here and give us baby steps to go through. Don't think he was giving terrible advice, just specific and a little closed minded. I really did enjoy it overall once I let go a little.

I'm soory for that, did you made also all the masterclass assigments? I'm reading the peregrine then I will need to write 20 pages inpired from it (it's my first assigment). This masterclass is looking really cool to me.

I took that course. It was fun and interesting, but not the wise guidance I was hoping for. He's pretty opinionated. Was more fun just as a course on how crazy herzog is

I suggest try to get inspiration from this masterclass. will give you many ideas https://www.masterclass.com/classes/werner-herzog-teaches-filmmaking

camera - sensor size, focal length, aperture, shutter speed, frame rate, iso, white balance, codec, log. Not that they need the best in any of these, but they should know what they are Camera movement - handheld, tripod, pan, tilt, stabilizer, crane some lighting - point out natural lighting can often work for low budget but great looking footage and that iso isn't the saving grace editing - hard to cover every editor, maybe the simplest intro to how an edit works in premiere vs avid since the others seem to slightly mimic from there. Maybe imovie or YouTube's editor if that's what they all have access to Color wheels, curves screenplay formatting - Celtx, I have a google docs format I could send you if you want to go that way, or just basic elements of a script.. they don't need it to look nice Maybe just show them some film clips and how the filmmaker told stories with editing, camera work etc. The Graduate has tons of great examples of the basics being used in a powerful way, for instance. Telephoto lens manipulating perspective when he's running to the church, some interesting zooms, the quick edits and framing when ben sees mrs robinson naked for the first time, shot reverse shots, plenty of loooong takes. Encourage them to study their favorite filmmakers. Clips from good looking or entertaining films shot with minimal everything. Kendy Ty, Tangerine, This is John (the $3 short film), first episode of it's always sunny in Philadelphia (before the pilot), If they can draw, encourage them to look at animation and see if they want to give it a shot. This is just a more personal thing.. interesting though. Something like Home Movies or Cyanide and Happiness could be very doable for some of those teens (with some work), and can definitely tell a story I don't know, covering all of that might be difficult in limited time. But that all would have been/was helpful to me when I was first starting. If they're using phones, you can skip most of the camera stuff and they can figure that out later. Could skip almost everything, just enough to fill in the gaps and spur them on so they know there aren't roadblocks just because they don't have the best equipment or professional training. Maybe you could just get their interest right away with something cheaply made and beautiful and then let them ask questions about whatever, things they might still be mistified and baffled by, and let the workshop go wherever that takes you.

Just tell 'em that what they're shooting should be motivated by the story/emotion it's trying to convey. And always ask yourself the 'what?', 'how?', 'why?' of things. Everything begins with a 'set'. Doesn't have to be a legit studio set, it just describes the location you're going to have your shoot at. Pick/create a setting that itself supports the story; to make it believable within its own reality. Often when people are starting out, they care too much about the camera and technicalities and forget about things like location and wardrobe/props (like kids (in their everyday clothing) playing actual warfare (guns, bangs, bullet holes, blood) in their urban neighbourhood (without any real interaction with/response from their environment)). Once you have your story, create a universe where that story is taking place, be consistent and make it believable ('believable' doesn't neccessarily mean 'realistic', I could imagine a comedic take on previous scenario and kids are playing warfare with cardboard costumes on and having cardboard guns that shoot Skittles, people coming out of their homes to collect the yummy richochets). Thing is... you've got to really sell it to the viewer, suck them into your reality and make sure they're not thrown off. On set, before any legit shoot, there are checks for 'light', 'sound' & 'camera'. When everything is in order there's the call for 'action'. These are the principles you need to think about. The impact of light (and shadows), sound design (maybe more so a 'post' thing to think about (foley/SFX/ADR/music)), camera set-up/use and the actual action (it's about 'motion picture' after all). What mood are you trying to set and how do these individual elements work together to create said mood? When you introduce a change... make sure it's done with purpose. A lot of times when people get new gear, they start using it... because they have it, not because the story asks for it. It gets boring quickly if every shot is a slider shot. It's just too much. Don't be a slave to your gear, let the gear work for you. Do things with moderation or when it actually supports the story to do it otherwise. Think more about your framing, about the movement of the camera and that of the subjects... what can you do with that? What does it (subconciously) tell the audience/what impression would that scene make? I think we all agree... you can shoot something enjoyable on $0 budget and a potato, if that potato was used to tell a interesting and engaging story, that took its audience's mind offa things for a second and made them experience 'something'. Sometimes I say, it kinda is emotion pictures. It's conveying mood and emotion. It's visual storytelling. It's art. Like a painting, but one that is in motion. There's a mood, there might be a message, there's room for the viewers to explore these things for themselves, wonder and try to figure it out, but hardly anything ever is something completely random without a pay-off or reveal. Just make sure there's some motivation behind what you're doing and you'll be fine. In the end it doesn't really matter all that much if you shoot something on a RED or a Panasonic Lumix... in 1080p or 4K... or in potato quality. Just make sure that what's in front of the camera is solid and makes sense... that's the bigger picture. Technically... most you might ought to know, if applicable at all (smartphone or GoPro could just be as easy as hitting the red record button), is just the basics of light capturing. Framerate, shutterspeed, aperture & ISO, with the possible addition of light or ND... what each does and the relationship between them. Maybe lens characteristics (effects and use of focal length, compression, focus and separation). And how to edit everything together in post... especially when and how to make effective cuts. And well, it does help to make sure the audio doesn't completely suck before they show it to anyone. But that about it. Technical information is always at your disposal. Ideas and creativity... they need to be sparked. It's much more the global understanding why one would do certain things a certain way, rather than knowing specific technical details.

Least Palin has another chance to fuck it all up again lol - Interior secretary lol, better than Fawlty Towers

Is it easier to "blame the media" rather than face the reality that it was the American people who wanted (and voted for) Trump to lead their nation? How long ago was it that we were rallying to bring down the Saadawi empire? Or criticise Zach for his off-topic ramblings? All good fun!

I have to say this thread and Ed Davids other thread are ruining eoshd for me. This was my safe space from the political talk. He's now brought his hate and bias into this forum. I'm out....

I haven't seen a bad video out of this camera yet...which either means 100% expert operators/colorists, or a camera that makes it simple to get excellent results. The latter seems much more likely, and honestly pretty damn exciting. These are good times for low-budget filmmaking.

I take back what I said in my last post. I just did some side by sides with my Nikon D5500 on the Flat profile (which i've previously described as having as much DR as the C100 II) and the Fuji is actually as good or better. Attaching screencaps. Some extreme dynamic range tests. Here's the D5500 with Flat profile The Fuji at 1080p with ProNeg Standard profile, -2 shadows and highlights, -4 sharpness. +1 stop of exposure compared to the Nikon (because the Nikon is brighter at the same exposure settings) The Fuji at the same exposure settings as the Nikon: Now with contrast at -100 using the Lumetri panel in Premiere Pro: These were all at 1080p. At 4k there is even more headroom and the colours tend to be noticeably nicer.