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Hi everyone, I've been building a library of images that you are welcome to use in your projects. They might be useful under titles, for visual effects or anything else you can think of. They are all original...all my own work. All I ask is to be attributed as indicated on my homepage: http://soundimage.org/ The images are on my "TXR" pages (for "Textures.") I'm adding new ones all the time, so be sure to check back often. I sincerely hope that some of them are useful. Any and all constructive feedback is welcome and always appreciated. :-) All the best, Eric

Not to be confused with a ‘Stylized Look LUT’ – I created the BozBMDFilm_to_Rec709 Utility LUT out of a need to make my own color grading life easier when dealing with the Blackmagic BMCC / BMPCC Cinema Camera Film LOG and RAW files.. Download Page: https://bulentozdemirfilms.wordpress.com/downloads/bmcc-bmpcc-bozbmdfilm-to-rec709-lut/ [Original RAW video by John Brawley DP]

I had some free time today and so I went into the studio and did some tests. They aren't very proper and they aren't the best in the world...but hopefully this will help someone out there! I used some of the EOSHD Canon picture profiles for the 1DC part so check that out! I am by no means a professional colorist. I tried to balance the images best I could in Resolve. You will notice that some shots are a tad blurry....I'm sorry about that. I had continuous autofocus on. Here are my findings: Canon 1DC: It's totally still relevant. The fact that this camera came out in 2012 and is competing with the new C300 mkii is incredible. Official Canon Log: Is great. It grades really nicely and is really clean and natural looking. Totally recommended. The 4k 4:2:2 8bit is much better than the 1080p 4:2:0 of the C100. EOSHD C-Log: Its good for sure but not as good as built in Canon Log on the 1DC. I need to play more with it but I had some troubles with it. Other EOSHD profiles: These are fun! I love the Monochrome one a lot! C100: Its done. Too old. Image is soft. Has terrible artifacts. Built in codec is total crap. Get this guy out of here. Wide DR if handled properly could be a good profile to shoot most things on. Its not too flat so the low bitrate doesn't fall apart as much. C300 mkii: This is the best camera of the three (as it should be) but not by much in relation to 1DC! Canon Log and Canon Log 2 aren't very good. Canon Log 3 seems just about right as far as nailing the color science. Everything balanced really nicely and looked great. 4K 10Bit really holds together nicely when grading. I thought 1080p 12bit would be stronger...but I really didn't notice much of a difference between it and the 4k footage. Slow motion: It's OK. There are other cameras coming out that have better slow motion abilities. To go past 60fps you have to crop in on the sensor by 2x which turns the crop from being 1.4x (Super35) to 2.8! That's more than micro four thirds.

The SLR Magic lenses do not have a great reputation with my friends who have used them. I have not. So they complain that Vedya dropped their plans for an anamorphic set when the GH4 sensor aspect ratio changed. I really hope the revive those plans.

a few of mine, taken at The Efteling - The Netherlands at January 1th 2017. Film in progress... Bolex 16/32/1.5x | Nikon 50mm f 1.8x pancake | Samsung NX1

You need to focus on one thing. I started in post in NYC dubbing and doing assistant editing work. I was lucky that the industry was going from tape to digital so I helped my post house do that transfer from conforming with tapes to going to the avid and after effects. So my professional work back then was in the post industry editing for commercials and PBS documentaries but I was writing and shooting short films on my weekends. If you want to work in post then you should apply for jobs at post houses in your area but be ready to start in a clerical position or as an assistant even if you have a reel. Another way to break in is to freelance but you really need to be outgoing and motivated to network and consistently looking for new work otherwise apply for an entry position. If you want to work on shoots then you need to start as a PA. If you want to create your own work then keep your day job and keep writing and polishing until you think something is ready for a producer or manager to read. This is all moot if your work is amazing. Just put it up on youtube or vimeo and send links to companies and reps and people will find you.

im so happy with my 5d3 for raw, i wish ml would develop for more cameras, but as it has been said that feels unlikely right now id love a 2k raw mode for the 5div (assuming that 4k is impossible), but what i think id like even more is a body that has a *flippy screen* AND dpaf like the 80d with continuous raw... and just for the record thats coming from someone who is happy with manual focus for video, dpaf is amazing and super useful ?

I think so too, but I've never heard of 500Mbit / s with external recorder. I have provided only official information, this can be useful to OttoK or Kino for Hack development. There might be a flaw in the system which limits the data output from HDMI port but no impediments on wifi. I think that on this point it is worth investigating.

I don't think I can take it.

Well, you want the warmth in the right places. So, what I do is, I treat the highlight, mid and shadow areas separately. No tricky masks or anything. Just three way color wheels. If you do it globally, it indeed won't work that well. You can also create more weird Hollywood looks like this by contrasting shadows/mids/highlights with eachother if you don't like realistic/accurate... Your kitchen & you're the chef. Whatever you like best, but just about anything is doable in post. You can create your own LUTs of course. The one provided works as a solid base in a bunch of cases probably. But I would take care in some cases. The discussed way of shooting preserves the best information so it seems, so that's definitely good stuff.

Exactly, if you take a look of the supported camera they haven't released any solid firmware for years now. http://builds.magiclantern.fm/ The most recent one are the 5Dmk3 and 700D... With Canon being so behind now, especially with the 5D4, I think the dev team decided to move on and focus on more interesting projects instead of trying to rescue crippled camera from the 90s. I'm still using the 6D and 5D3 here. Going to buy the GH5 and waiting for the next generation of Sony A7.

Thank you! Dynamic range is the NX1 weak point, specially the highlights, you really need to preserve as much highlights as possible or else the image will become very digital. However, having tried a lot of "prosumer" cameras (nothing fancy, just Canons, Nikons, Sonys, Panasonic etc) this is yet my favorite camera...even against my new sony a7sII...And im not just talking about the experience, but the image itself, samsung surprises me everytime I load my sd cards in my computer, and with the sony, only after quite a bit of tweaking the image starts to look good. Maybe because im still not used to this camera, but the NX1 was an amazing surprise, and it was worth every single penny I payed for it.

Heres my latest entries : This last one is still private, its only due next week, but since this is a specialty forum, there should be no harm. Everything shot on the NX1+16-50s 2.8, and graded with my own Vellichor luts, available for purchase here if any of you wants to have a look - https://sellfy.com/p/HNAk/ Hope you guys enjoy :D

Think the time of Magic Lantern is over (active developing wise). It was cool with the T2i/550D and 5DmkII&III, but there's so many great ready to shoot cameras now, that I doubt it makes sense to exploit a camera that doesn't want to be exploited. Panasonic and Sony embrace new options, if you must get a Canon, shoot 5DMIII MLRAW, or get a 1D C/1DX Mark II, I'd say. But gd luck if you still feel like it's something to put money, time and effort into.

Here is some clips with the anamorphot SLR Magic, the one with the focus module Rangefinder integrated, on LX100

Here's a trailer for a short film I've been working on, called Homecoming. It's a neo-noir revenge film set in the mid-90's recession era Finland. We shot it on and off during the early spring and late fall of 2016. Originally we were supposed to wrap the whole movie during spring with one flashback scene shot in the summer, but we had continuous trouble with the weather and with the health of several crewmembers. I spent the first week of shoot on a high fever and was functioning on painkillers alone, and later when we were supposed to shoot the finale our lead actor became bedridden with measles and we had to postpone the finale to late fall. But now it's slowly coming together and it's starting look like an actual movie. The trailer is NSFW, it contains some extreme violent images. (Click CC for english subs) We shot the movie 95% on BMCC 2,5K EF, with some shots here and there taken with 5D2 ML RAW and Sony RX10 MK2. I'm using kodachrome LUT as the basis for the post-process, with heavy color separation and high midtone sharpness to give the BMCC footage an 80's film/RED footage kind of pop. A lot of visual cues are taken from Scandinavian/Finnish films from the 80's and 90's. The movie was mainly shot with Sigma 18-35 1.8, Super-Takumar 50 1.4, Samyang 85 1.4 and Tair 11A 135 2.8, with some special shots shot on Petzval 85 2.2. I often use diffusers and other physical filters but here they're used very sparingly, only on flashback scenes. Instead I went with self-made vignetters to shape bokeh on the daytime scenes to look like brushstrokes or scattered drops. The effect is not very obvious in the trailer as it focuses on nightscenes. If you have any questions about the process or the movie, shoot away!

Take us with you to new server Take us with you to the stars Take us with you to the heaven

I think the GH5 is the ultimate MFT camera - the most advanced as well as the last GH. You simply can't stuff significantly more pixels on such a small sensor. Or if you could, you had a hard time finding lenses sharp enough for it. It's an interesting detail in lens tests how lenses always perform better on Super35/APS-C and even better on full frame. Read the GH5 PPP linked to in the all is revealed thread. You'll notice how many techniques are used (and obviously have to be used) to top the perceived sharpness of the GH4. And yet - in my subjective view, it does not reach the Sonys. I've downloaded every clip available so far, and I admit it looks quite pleasing. However, we are starting to get used to 4k images ... And since resolution matters and unstable camera movement drastically reduces it, it's time to make friends with stabilization, lens, camera, gimbals. With these put to the equation, the A6500's rolling shutters (almost) ceases to be an issue at all. In the past I raised my voice for 10-bit, stating that it was more important than 4k. Now that we've got it in a mirrorless consumer camera, I'm curious to see what people make of it. It's an advantage, sure.

almost every shot in Killing Them Softly

I am a weddingshooter and mainly use panasonic camera's, unless your intention is to switch to Sony completely then the GH5 is a overall better videocamera for weddings, Ivanhurba mentioned the most important differences in favor of the GH5 and if you get the DMW-XLR1 you have a workhorse that will get almost any job done. I also never had any issues when it comes to low light with my gh4 or with my gx80 and g80 which are cleaner at high iso and retain color better as well, the advantage of shooting with m4/3 is that you can shoot wide open all the time if needed with fast lenses, like f1.4 and still have a manageable dof and focus which is more difficult with APS-C and very difficult with full frame, considering that would be your next step after getting a a6500.

I wish Panasonic would come out with a 2x adapter. They could even slap the Leica label on it and sell it for a premium.

Hi, id go rent A6500 for couple days test it out see if it suits your needs etc and then wait for Gh5 and compare them both insteed of asking us its you whos gona use it at the end

BMPCC SLRM 1.33 anamorphot/SLRM 35mm

I can guarantee that most of the replies will favor the GH5, but honestly I think the right answer depends on how important cost, sensor size, low light and AF is to your work? With a $600 price difference the extra money saved with the a6500 can be used to put toward lenses. With the larger sensor, you will have a built in Super 35mm aesthetic and all the bonuses that entails. Between the sensor size and cleaner high ISOs, the a6500 will be better in low light. With the touch screen and PDAF, the a6500 will have better AF. With all that being said, the GH5 will probably offer a more stable production with less chance of overheating and better rolling shutter. If 4K 60p is important to you, the GH5 will offer that. If you're interested only in 1080p, the future firmware updates will give you lots of great high bitrate, high framerate, All-I options. But if 1080p is all you need, the overheating issues of the a6500 won't be an issue... of course I haven't had an issue with overheating in 4K with my a6500, but I never shoot a clip that is longer than 2-3 minutes at a time... being a wedding videographer, YMMV.

Really nice work. Neo noir is such a cool genre... actually all noir is... and it seems you managed to truthfully yet artistically stay within the confines of the genre. It seems like Blue Velvet may have been an inspiration for the film as well as some of your previous mentioned ones? The casting was very smart, a couple of your actors resembled Hollywood actors... one looked kinda like Michael Douglass and another looked kinda like Kevin Spacey... specifically in the car scene where he is framed in the middle of the back seat... kinda like Seven. If you don't mind me asking, what was your budget? Assuming it was on the lower end, my next couple questions are asked based on that presumption. I've been patiently awaiting a good price on a BMPCC and while scouring eBay, I've noticed a lot of lightly used BMCCs going for just a little more than a new Pocket... with it being called a Mini Alexa, I'm curious to know the pros and cons you experienced shooting with it on a feature? I just purchased an RX10 ii, so obviously I am really interested to know how it fared compared to the BMCC and 5d2 Raw, which shots, from the trailer, were shot with it, did you use SLog2 and did you tweak the profile settings or use them at default? I guess that's more than enough to ask of you. So, thanks for sharing your work and please keep us posted when the feature is finished. Also once again really nice job. You discussed some of the problems you had and I am sure many others on the site are full aware how near impossible it is to produce a narrative film on a small budget. Every task is a struggle to the point where it seems that the universe does not want us mere mortals to make a film. Sheer fortitude, obsession and a little bit of luck makes it happen... So congratulations on that miracle as well.

From my own experience with regards to the television industry, nepotism and cronyism have always been high on the agenda unfortunately. Getting a casual start in staging on the graveyard shift, or pulling cables on outside broadcasts like the golf is great way to get a foot in the door on a casual basis, and you then get to meet people in different departments, and they get to know you. I got my start by constantly walking into the carpenter’s workshop at one of the stations and never taking no for an answer, but always being polite, until one day they told me to turn up at 3.00am to unload some trucks full of sets. A lifelong mate of mine started in staging, and is now one of the leading drama directors in Australia. The best director I’ve ever worked with, Ted Emery, started in staging, and the cleverest producer /writer I know of, Andrew Knight started as a goffer/ runner for a production company, so staging and cable pulling can lead you in any direction if you want it to. It can be financially tough though when the work dries up, as it always will from time to time, so don’t give up your day job, or always have something to fall back on. Networks and Cable stations outsource their production a lot these days so turn up to an event of some sort and take note of the company name on the OB vans and go from there. But persistence will win in the end. Good luck.

Tell me something. Where were the "liberal and progressive" protesters and celebrities when Obama deported 2.5Million immigrants - more than any U.S. President in history? Where were the "liberal and progressive" protesters and celebrities when Obama armed, funded and trained "moderate rebels" that committed genocide against my people, Syria's Christians? Where were the "liberal and progressive" protesters and celebrities when Obama spent $1Trillion on nuclear-weapons? More than all his predecessors combined. Where were the "liberal and progressive" protesters and celebrities when Obama expanded Bush's wars from two to seven? Where were the "liberal and progressive" protesters and celebrities when Obama droned 60,000 civilians - mainly women and children? Where were the "liberal and progressive" protesters and celebrities when Obama dropped a bomb every twenty-minutes for eight years? Where were the "liberal and progressive" protesters and celebrities when Obama's "moderate rebels" killed four members of my family!? Where was the outrage!? Tell me, where the fuck were the "liberal and progressive" protesters and celebrities during that shit show? I'll tell you where - they were busy watching Obama crack jokes on Jimmy Fallon and dance on Ellen. They were busy getting distracted by that shit show to notice the cluster fuck that Obama unleashed on the world. You wanna call anything that doesn't fit your narrative "propaganda", fine. I've had it with all the phoney progressives out there that can't seem to let go of Obama's nuts. I've had it with all the phoney progressives that automatically think you're a Trump supporter because you call out Obama for the shit show he started in Syria, in Libya, in Yemen. I got nothing left to say to anyone. Fuck it. I'm out.

Biggest clusterfuck of 2016 is politics on this forum remember good old days

I really like the look of the old Hawk V-Lite Vintage '74 anamorphics on The Hundred-Foot Journey. In my opinion this is Linus Sandgren's best work as a cinematographer.

Hey everyone, I'm very stoked about the GH5 and will shoot a lot in 4k 50 fps! The question is, which external monitor will accept this signal as input? I'm using a cheap Seetec monitor at the moment with the GH3, but I don't think it is able to handle a 4k 50 fps feed. I've seen some affordable newer monitors which accept a 4K signal, but only 30 fps at most. Anyone knows anyhing about this? Or could recommend some fairly priced monitors?

My whole setup was made for handheld, since I needed the camera for run&gun, and I find out a 4-point of contacts solution that didn`t hear or see anywhere, the solution I always hear was the 3-point of contacts using your hands and an eyecup, but I added a small-rig top plate to the camera and I was able to move back the top handle of the camera until it touches my front, so now with these 4-point of contacts (right hand on the grip, left hand in the base of the camera, right eye in the eyecup, and front in the back of the top handle), and keeping my arms very close to my body, I feel the camera much more stable and reliable….probably I will add some high density foam in the top handle later to feel it even more comfortable…..I also got a monopod to rest sometimes during the shooting, and for interviews….anyway, I am sure around the 5-6 day of shooting I will be praying for a wheelchair…..

I bought a 50D just for using it with magic lantern. I get full HD raw for €250 (using anamorphic). If you go with a 5d mk2, you get full HD raw (13+ stops DR with dual ISO) for ~€1000. Yes it is a hack, but you have to love what it gives you for the price. If you don't wanna go with blackmagic in a tight budget, this is the only way to get raw ! But as you said, the 5D mk4 is an expensive camera, and it doesn't offer much. I think the ML team should concentrate on the unfinished projects first (Dual ISO video for 7D/50D & 10-12bit raw for 5d mk2 / 50D). There is still some humph to get from these 5+ y-o cameras I wonder how the apertus project is going, if I remember correctlyctly, some developpers came from ML dev team.

Arikhan, this is very odd since (for stills) I have exactly the opposite result as yours! I can push the shadows at least 4 stops, before they get too much noisy. And the dpr tool is confirming this, where NX1 is on par or better than the best FF cameras out there, in pulling exposure in post.

A recent photo.

Hello everyone, these days I started working in a new project for the construction of an smart adapter, by accident I discovered that the NX1 offers 2.4GHz and 5GHz Wi-Fi wireless networking connectivity compatible with IEEE 802.11b/g/n, as well as the faster 802.11ac standard which has enough bandwidth to stream 4K video wirelessly over 500Mbit/s. Can anyone verify this?

I think it's the things that are happening behind the scenes that you should be worried about....

Zooming in doesn't look that great. I'm suing P2P (pixel to pixel) and it is really sharp and accurate. BTW, a brief update: I wrote to FeelWorld pointing out the flaws and they asked me for the monitor serial number. Have yet to hear back from them but I suspect because of Chinese New Year holidays. I used the FW760 again during the weekend and have to say that it's growing on me. Framing with a 7" monitor, with proper framing mask is a pleasure. False color are invaluable. And I now managed to calibrate the monitor to my liking. If only they could get rid of the issues... I also wrote to Cinemartin about their new cheap monitor but they didn't reply so far. Will keep you informed if anyone's interested.

The A6500 settings do indeed provide a better color for the A7S, just finished a small project and even tho there is a difference in color between the S1 and S2 its easy to correct in post. @zuberman - Im getting that same red-to-orange glow in the car's stoplights on my A7S and A7S ii plus some orange-to-lime-green in some instances. Would be nice if we could get rid of those without messing the rest of the color.

Today I shot footage for two more upcoming episodes. This time I had the BMCC and NX1 on a tripod for interview style talking-head video. I'll have more info on that later in the week. Meanwhile, I've worked out a good system for backing up video archives... Low Budget Video Backup Solution For the Carry Trainer video series essentially all my footage is stored on two large hard-drives. That works pretty well. Internal hard-drives are cheap these days and with a USB 3.0 connection the speed is good enough. I've never had a hard-drive fail yet, but it happens. Sooner or later hard-drives fail... they aren't designed as a long-term storage solution. I've been thinking about a off-site backup solution. Due to the sheer size of the footage I shoot, Blu Ray seemed like the only plausible solution. I don't even want to try pushing 6TB+ up to the cloud. I checked out Archival Blu Ray discs, and they were a bit too expensive. Then, reading the specs on a regular Blu Ray - R discs, I learned the regular shelf life for those is pretty good. I forget the source, but they are rated at 20-30 years. For my YouTube Channel that's good enough. I want something that lasts about 10 years that I can easily store off-site. Once I settled on Blu Ray Recordable Discs, the next challenge was a system for spreading data across many discs. I break up my footage archives by Episodes. Episodes 1-5 are grouped together and roughly 450 GB. Initially I tried CDBurnerXP, which has a nice disc spanning function... that didn't go well. The program would choke on the individual DNG files from my BMCC. Perhaps 450 GB was just too big for it? I let the program go for three days non-stop with no success and had to move on. Then I tried WinZip, which in combination with ImgBurn, works great. With WinZip I can take large projects and break them down into chunks for each disc. The WinZip program is powerful and fast. There's even a setting for "No Compression" on WinZip, which is perfect for video files(where everything is usually already compressed). My Episodes 1-5 directory broke up nicely into 22 files. Now I'm using ImgBurn, a good disc writing program, to write one file to each disc. I prefer ImgBurn for archival purposes over the default Windows Tool, because it thoroughly verifies each disc after writing it. This topic is a bit boring, however as video makers it's important to have some system in place if you're working on valuable stuff.

Here are some clips I did with my wife's G7 Lumix. I used the settings for Standard pic profile Andrew recommended, and used the Pro Color LUT with grading. Let me know what you think.

Sorry mat33 but you can do everything perfectly right with a C100 or C300, the only issue is that the camera is much bigger, and I will have to go to the gym for some months before start the project, I agree if the ghosting was not there I would probably choose an XC10…..which certainly was my first option, luckily we have in our community a cinematographer with so high standards like @kidzrevil who showed us what everybody else missed before I pressed BUY bottom…..

Ha. He was looking right at your camera too.

Pretty soon, the people of the republic of North Korea, I mean the people of the republic of the United States, I mean the people of the United States will start believing everything coming out of DT's mouth.

Pretty sure Abraham Zapruder would have agreed with that !

Again I don't think anyone is arguing against your points. It's not moot because the point of the post is... look what you can do with an iPhone 7... The End. Sometimes the best camera made is the one you have with you.

@Kisaha I just don't understand the case you're resting. Nobody ever said that the iPhone 7 is better than any camera. Obviously for the same or less money you can get a camera that will give you better results. The point of the post is that most people have a phone on them and when you're freed of gear, you can use a phone to capture the heart of the subject and in most cases nobody will notice the difference that it wasn't shot with a better camera.

I'm considering adding the GH5 as my second cam for slow mo, drone shots, etc - but they are very different tools. They both offer stunning images (and if you know how to light, compose, direct) you can make amazing work on either one. remember some of the most iconic images and films ever made were on equipment that is now worth nothing. I would say figure out which one best suits exactly the kind of work you do and hope to do and go with it. If you have an amazing reel, no one cares what you shot it on. And when your client insists on Red for some stupid reason - fine, just rent it. You need to have the best tool to allow you to realize your personal vision when you're not on someone else's dollar. And I disagree - the 1dxm2 is no competitor to the gh5, I have done several tests and the 4k footage from the 1dxm2 is junk compared to the 1dc - I will be buried with my 1dc. Never giving up the magic that camera spits out...

I did a shoot yesterday with my 1DC and Contax Zeiss glass and loved the results. It was a nice reminder how great it is. Low light, color science, and full frame all great on it. Such a clean but beautiful image. Still gonna hold onto the 1DC until I do proper GH5 tests.

Yeah, that is great! It adds that little touch that makes the piece feel like an old postcard of a memory or dream... if that makes sense? Really nice work!!! Btw, is that curly haired blonde your girlfriend? Your work inspires me to stop messing around with stupid camera tests and go film finished pieces. If only I had friends... LOL.

This lens is one of the main reasons for the m43, at least from my perspective. The compactness yet outstanding results even in lowlight are unmatched. Whenever I want to be really compact, I am using that lens and it never disappoints.