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Hey guys. Wanted to share a recent project I directed for a company here in Nashville called Ramsey Solutions. They teach people how to handle their money and get out of debt. We did a series of videos for their personalities for Christmas campaigns. Below are some BTS shots and screen grabs from the shoot. Here is a link to the peice: Password: 1234 We shot on the Arri Amira and used Cooke S4i primes. I graded the project with Color Finale in FCPX. The green screen stuff was poorly shot and we used a C100 so the shots of Rachel are pretty muddy. We had a pretty minor budget but the project turned out pretty cool! LMK what you think and if you have any questions. And yes I was rocking a dirty stache at the time

One could argue that the GX80 is wrong camera for this as it doesn't shoot log or 10bit, but the fact is it gets "close enough" that, for the majority of us (pro and amateur videographers), it offers "enough" headroom in post... significantly better quality and creative options than smartphones, inexpensive enough to be accessible. I'll be sharing some tests tomorrow concerning specular highlights and optimal contrast settings.

The magic word you are looking for is PDAF - a7SII only has CDAF

well the a7sii isn't known to be very good at af even with native lenses is it? I think the mc-11 only works good with a7ii, a7rii and 16300

Yes just reflash the old firmware and its back to the old one.

So... I'm in The Netherlands visiting my parents... they've got a new Samsung UHD HDR tv. The screen was absolutely awful to look at. Factory settings of course. Full brightness. Full contrast. Samsung colors... way too vivid, Chernobyl Barbie skintones, things blown out and crushed down... So, I went into the settings, changed it from Dynamic or whatevs to HDR, just curious what it would do, went to expert settings, changed things around so that it would actually look good, natural and not as eye straining as it had been before. My dad: 'ah, ok, sure, I guess... whatever'. Mom comes in after work 'what the hell happened to the tv?', I'm expecting her to be struck by the newfound beauty and quality of the screen... 'it's like I'm looking through a frosted milkbottle, it's horrible'. Wow... they're completely ruined by watching crap (bright, vivid, blown, crushed) all the time (same people that don't dim their phones at night). Not only don't they know any better, they do not even want any better. I'm baffled and ashamed to be quite honest.

Hello ana-scope lovers, I'm selling my Möller Anamorphot 32/2x and Rectilux 3FF-S. This particular Möller is hard to find especially in such good condition. It took me over a year of searching (on and off) to get one in this condition, it looked like new-old stock when it arrived and had been stiff to turn as a result of sitting somewhere unused for years. I regreased it (when used in the olden days of double focusing) but not really important now as you'll have it set to infinity and using it with the Rectilux 3FF-S. The Möller is known for its sharpness and crazy blue/purple flares! The Rectilux is also in great condition and I've regreased it also as there was some slight vibration when focusing when I first got it so now nice and smooth. The Rectigrip included, I cannot recommend as it put a small dent in the barrel of the scope when tightened and also hard to gauge if front of taking lens is making contact with back of scope. There is a minuscule mark on the coating because of this but barely noticeable. I only noticed it when taking macro shots to sell the scope so I'm including an excellent Redstan clamp that does a brilliant job of holding it in place and prevents elements from making contact. Also included are a Coupling Ring which connects the scope to Rectilux, a custom made lens gear for the Rectilux 3FF-S from Helicopter Sean and a thicker custom 3D printed pitch gear for your follow focus because of the long focus throw in and out. A PDF of Rectilux 3FF-S also included and a clamp most likely used for scope's original purpose and could somehow be integrated into a rig set-up, it's extremely solid. Price: €800 Photos: You can just see the small indentation where Rectigrip made an *impression* Rectilux with custom lens gear: Rectilux has 72mm filter thread. I have used a variable ND filter with no problems. You can also see the purple coating of the Möller that gives it its signature blue/purple flares: Rectilux + Möller + Coupling Ring + Rectigrip Custom 3D printed pitch gear. I have basically used a longer screw and placed it on top of original gear: Redstan clamp: Some screen grabs, oval Bokeh: A recap of what I'm selling: Möller Anamorphot 32/2x Rectilux 3FF-S Rectigrip Redstan Clamp Coupling Ring Original screw on clamp Custom Focus Gear for Rectilux Custom 3D printed pitch gear PDF Rectilux owner's manual I take PayPal and possibly we can do it through eBay but would like to avoid because of ridiculous fees! I'll be posting from France. If you're interested or have more questions, PM me.

I am going to watch the Herzog masterclass. Finally someone worth learning from.

Downloadable F-LOG footage: http://public.oliver-nimz.com/fujifilm_xt2_f-log_sample_footage/

Hi Everyone. During my quest to understand how raw files work and what are the benefits of using one format over another, I never really found out a clear definitive answer. So i decided to start this topic in oder to do so. My fundamental questions are: A) Which raw files DON'T have baked-in white balance? B) Is there anything as logarithmic raw files? And the answers I have found so fare are: A) .ari files and Magic Lantern 14bit .dng files B) I don't consider .MXF or .R3D files to be raw but uncompressed video therefore no. Otherwise I would say that the only logarithmic raw files are MXF files Pretty much all other kind of raw files out there turn out not to be really raw as they claim. In my opinion, I found that working with a linear file was a safer bet against blown highlights and being able to truly change white balance and at least magenta/green shifts (unfortunately no blue/amber cast in lightroom for me, only magic lantern allows you to correct that in camera :D) Maybe for you all the answer to this question are obvious, but I though it would be nice to have a little corner of the net with a clear cut answer to which camera does generate TRUE raw files (I am looking at YOU: RED, SONY, CANON, BLACKMAGIC ) Because, I would be pretty pissed off if i'd bought a sony f55 or a RED Raven or a Blackmagic Ursa or any other 10k+ camera and find out I can't truly change white balance in post e.g.: The lumetri panel in premiere does not do that. It only apply a azure/orange filter to the image to simulate white balance shift.

Small intro, because the first shots are some of the most important <3 :

@dbp I've assisted this year 2 weddings in Germany. For a wedding photography pro firm. Very clever guys, charging minimum 2.500 Euro /STILLS) per wedding (they have 5.000 EUR packages too). Till this year, they didn't work on wedding videography, but then from may on they started to offer videography services. How they do it? Very simple: they hire a (in my opinion) very good, experienced camera man for 65 Euro per hour. He films totally about 6 hours = 390 Euro. Then he gets 150 Euro "gear tax", that is 150 Euro per day. So now we are at 540 Euro (+ 19% VAT in Germany) in total. Therefore he delivers the whole clips and sells the firm all rights to use it (without crediting!!)... Then a freelancer who acts as cutter / colorist gets the clips. He works on them about 12 hours - for color grading editing, audio, etc. and delivers the end version of the film. He charges 47 Euro per hour of work. 47 x 12 = 564 Euro. OK. in total, there are 540 + 564 = 1.104 Euro for filming, editing, etc. Their advertising / marketing / PR budget per wedding is round about 200 Euro. As clients don't have much clue of films, etc. and just wanting to get a nice film, there is not much talk on settings, sequences, etc. The company charges 3.900 Euro for the 5-minutes-wedding-film. A great business: 3.900 - 1.104 - 200 = 2.596 Euro. Sure, talking with clients, organizing, etc. takes time. BUT, this is a business. Payment is best for top marketers, not for the working jobs (film makers, etc.). The guys owning the firm know how to do business without ever buying or caring about any filming gear...They want to scale this in 2017, as they are pretty sure, there are people spending 5.000-10.000 Euro for a wedding video. They say: "It's not about pricing, it's all about marketing, positioning and promotion..."

I like and use MLRawViewer, I wish they kept updating it. Newer programs are good but not the same thing.

I was really proud of my family for appreciating when I fixed the motion settings on their new tv. They're no experts, but they knew that was a bunch of bullshit <3

I'm a general freelancer so in theory, I'm *supposed* to be doing all kinds of video work, but lately it's been practically full time weddings from June to Oct, just cause there's no damn time to do anything else once they pile up. I think it's ok if you can command the higher price points, but I definitely fucked up working for the rates I am.

I think most people on this site would have similar experiences with their familie's viewing preferances. I downloaded an episode of Boardwalk Empire from You Tube and it ended up being 480p. So I ran it from my laptop into the plasma TV. I asked my wife what she thought of the quality and she said it was great, just as good as the dvd's we'd watched the other episodes on. I've got to admit that I was a bit surprised just how good 480p can look.

If you want a quick and easy workflow to get your feet wet until you learn Resolve, ML Raw Viewer, which was made to process Magic Lantern Raw files, will process BMPCC Raw files and export them to ProRes.

shooting weddings is slave labour. You simply have to have a passion for filmmaking and journalism to even come close to not feeling abused by transcoding, watching, editing and vfx'ing 20+ hours of footage for less than most people would happily spend on a tv monitor (which they will even take credit cards for, and pay monthly....). best advice would be to find a new job and do it part-time...

I've bought the Aaron Sorkin screenwriting and Werner Herzog filmmaking Masterclass. There's some great insights in there. Each was about 5 to 6 hours of material. I wouldn't consider them to be comprehensive learning experiences though. Expect to pick up some useful tips at a max. That being said, I do enjoy the opportunity to read or listen to artists I admire talk about how they work. Might get the Hoffman and Spacey acting classes for that purpose too. Also just pre-ordered and gifted the Deadmau5 Electronic Music Production one for my brother, for xmas.

FWIW, I do agree that right wing niche content creation is a more viable market. I think it's a psychological thing. Affirmations appeal to that sensibility more. This is neither good nor bad, just my impression. Then again, films like "Forks Over Knives" that tend to cater to certain left wing notions have done well too. As it happens, my wife and I are angling to create a niche film for a very specific market. Seems to me with so much digital content flying around, unless you're a creative savant on the genius level --and you can create a mass appeal film that's head and shoulders above all the other stuff out there, ( I know I can't do that ) you're not going to make successfully commercial products in today's market without catering to specific niches.

Hum, that kind of reminds me of and... Does look like practical stuff as well.

http://varavon.com/collections/armor-cage/products/armor-ii-nx1-pro-cage?variant=4096862915

Photographers around my way (that I personally know) get £500 to £1000 for around 80 to 100 photos. They spend about 40 hours in Lightroom picking out and processing the best of 1500 shots or more. I shot two weddings with one of them (who is a professional) and wasn't even wanted there unless I did it for free. Ended up with 45 minutes of footage, including highlight reels, which took around 30 hours each to edit. People just aren't (in general) interested in video. Both clients were over the moon with what I had produced (even my photos were better in some cases) but nobody thought to give me a penny. They just assume that I point the camera and upload straight to a DVD or something lol.

Jeremiah from artlist responds pretty quickly to email queries. I did cheekily suggest to him that beta adopters should be immune to any subscription price hike. I don't think he liked that idea.

I agree, I don't think dropping Contrast down to -5 is about getting more DR, it's about me being able to choose where I want to use the DR in post as opposed to where Panasonic wants me to use it to videotape my kid's birthday party... I don't have kids and I'd rather eff up my footage on my own terms, not Panasonic's.

I've wanted one of these since they came out. Just checked the edelkrone website, and it looks like they added a motor/timelapse module to work with the sliderONE. Has anyone checked this out? https://www.edelkrone.com/us/p/512/sliderone I've always wanted one, but man, I want one even more now. That is really really cool.

Maybe Tarantinofan is Ebrahim Sadawi, or one of his multiple personalities.

It always feels like their reviews are a greater service to Johnnie's ties with Sony than to their readers. Johnnie goes to Japan. Johnnie gets into feedback session. Johnnie gets a loan camera. Johnnie is the oracle to consult if Sony want advice. Johnnie is holding camera and looking serious in every review shot. Johnnie is documentary filmmaker. Johnnie with his bumbag on being PRO. Johnnie writing boring piece of shit review that looks like it took 12 minutes, that didn't tell me anything whatsoever that I didn't already know, that nevertheless everyone reads as it turns up on SonyAlphaRumors due to special friendship between two hacks. That's more like it.

Reslove does everything I need, others may need something else. Reslove has a lot of functions most people don't know of or understand properly, you need to watch tutorials to work them out, it's not always easy to work out on your own.

This is a click of a button back and forth. Not to mention rendering always uses the original files. The global FX button is handy too. I'm really digging this. I was beginning to hate editing, and I realize now how much of it was a result of dealing with the sluggishness.

Everyone has their own tastes and it's best to do plenty of tests by yourself to figure out what you like most. Personally when I had the GX80 I liked using -2 Contrast/Saturation on the Standard profile. These two at 0 or -5 baked in the values a little too much so I found a middle-ground. Sharpening is always very obvious to my eyes and I hate the look of it. Noise reduction makes the image look mushy, especially skin. So those two I turn to -5. The resulting is image is quite nice but I have found that using the Canon C100 Mark II setting on FilmConvert gives really, really nice results. I'm seriously considering getting the G80 atm...

CAUTION: What has been seen cant be unseen dont blame me if this disturbing footage haunts your dreams.....

Standard Panasonic picture profiles are not designed to turn into 'flat mode' and if you dial down contrast this might give the appearance of more dynamic range (as the lows get a lift) but actually it does nothing to increase the dynamic range of the final graded material. You're just crushing the blacks back down again in post and reducing the tonality of the image in-camera, less colour information due to less contrast in an 8bit image.

He has $100k and he thinks my C-LOG profile is too expensive at $15. And then he expects help from my forum.

Hi everyone! Good news, heres the free lut so everyone can try and enjoy. IF you havent checked my lut pack yet, please do so, also please follow me on Sellfy! Let me know what you guys think! https://sellfy.com/p/4eZU/

100K just lying around? I need to do weddings. Augh. I hate weddings.

Dont quit. I have red your writings with great interest. I will buy a HDR TV sooner or later and I want to make HDR videos and photos. We can together think what is the best and reasonable workflow for us consumers. I think it needs a better camera than current consumer models. 10bit HEVC is also kind of tricky with current editors and computers. We need also a new 10bit or better photo standard. 16bit TIF is an overkill.

I apologize for any perceived attitude. I'm a camera enthusiast who still shoots as a hobby (I used to shoot tv professionally), but now that I'm working in post I get to work on some even higher end projects with the most cutting edge camera systems and lenses. And I wanted to share some of the latest news that I was incredibly excited about as well as my experiences with different camera systems. Every day I' working with Alexa footage with the highest end lenses or Varicam footage and with the highest end lenses, which is especially fun for me since I'd shot with almost every camera system previously, but I get an even better impression working with the files in post and interfacing with people on the cutting edge and learning their preferences and prognostication. And I never got to the level on set where I could shoot Ultra Primes next to Aluras one day and then C Series anamorphic the next, but I do get to work with that footage now on a daily basis. But I get that with this (and my confidence in the people around me and what they say–not in my own opinions, which I try not to mix in and apologize for my misunderstanding regarding the rec2020 color space*) isn't welcome here because of the perceived arrogance, and I won't be posting here anymore. *That said, Canon's white papers do indicate a camera that fills most of the gamut (which naturally includes imaginary colors the eye can't see and so arguably needn't be filled) and we've seen before that a camera needn't resolve a full "4k" to be 4k compliant and yet Netflix does exclude some cameras from common use that claim a 4k spec. So there is a middle ground, and I believe this is where the divide falls. The advice I'm hearing from the top brass at top labs is that 15 stops and support for high bit depth high bit rate rec2020 will be what producers ask for from a camera when shooting HDR. Canon had HDR in mind specifically when developing the C300 Mk II and C700. That said, I will have to trust you that the GH4 can also fill almost the entire rec2020 gamut as I have not read the white papers and my only experience with that camera is without an external recorder or VLOG, where it still performs well for the price. As regards the 12 stop spec in HDR10 for acquisition, that is news to me, and interesting to consider given that Dolby (where I consulted for free simply due to my enthusiasm for the product; I have friends with financial interests, but I don't have one) is looking toward much higher numbers.

The HDR acquisition spec among those developing next generation standards is 15 stops, though, and rec2020. Not 12 stops and rec709. I've used the GH4 and it simply doesn't have that much highlight latitude. I have friends at Dolby, Technicolor, Deluxe, CO3, etc. developing the next-gen HDR grading systems and they're all operating under the 15 stop spec. To reveal my sources more specifically would break NDA, but I know for a fact that Canon targeted 15 stops as it was considered baseline for HDR. To be fair, these labs are remastering content from film and cameras specc'ed at 14 stops and under. I'm sure you can create compelling personal HDR-ready content with that system, but it doesn't meet or even come close to the standards being developed for professional use. And when distributors and exhibitors further and more formally standardize, the 15 stop/rec2020 spec (or better) is what's going to be expected. Whether the C300 II meets its 15 stop claim is another question (before the firmware update it probably didn't; I have a number of friends who worked on developing that camera and it was an ugly protracted development, the early failures of which mask a now-impressive sensor in firmware update SLOG 2), but anything less isn't even close. (Fwiw, I would rate the Alexa Mini at 15+ stops, and internally, Arri does as well. Likewise, the F65 has footage that can be graded for HDR even if it wouldn't meet specs for official support, so yes, it's not cut and dry.) I'm not saying this to argue with you but to educate you. I have no doubt that you can make impressive content on your camera that looks impressive on an HDR display. But this is not an approach I would recommend to anyone as anything other than a hobby and the results will never make full use of the technology being developed, not even close. That said, from this experience you are building now, you will be on the forefront of shooting and grading HDR, and that is an extremely valuable skill going forward.

Yes it sounds good on paper but in reality the detail has to be pixel peeped by us to be determined as different, for the audience they won't care. Ever heard of the Samsung NX1? That was doing a 6K readout 2 years ago, continuously for hours with no heat management problems. I just cannot see how, as a package, the A6500 is all that remarkable. Again it is a paper camera... 5 axis. AF tracking. S-LOG. Amazing specs until you realise none of them work very well. 5 axis is better at Panasonic and Olympus. AF tracking and LOG are better at Canon.

Nobody except Peter Jackson liked The Hobbit in 48p, and 3D is about to die - again. As you said, don't declare the end of something. 3D is like Dracula. Often impaled and turned to dust. When the world just had forgotten his existence he came back. Stereoscopic images are first reported from the very early 17th century: At school I had a girlfriend from Romania. She spoke 10 languages fluently and got the international baccalaureat. Studied in Belgium and became a dermatologist. Her parents had been very poor. And no intellectuals ...

The Metabones Speedbooster XL is dope! I shoot with the G7, the XL Canon mount and Sigma 18-35mm f1.8 and the results are killer for what I need. Example...