Leaderboard

Both of these are an Iscorama pre-36 on a 5D2. Still going strong these days with the Isco for documentaries on ML5D3. It requires a measured approach to shooting. Not good for when you need to change lenses quickly in order to get the shot.

BMPCC SLRM 1.33 anamorphot/SLRM 35mm

His sin is making videography seem like fun, and the act of filming being its own reward. We all know that the only real purpose of filming is to get positive comments on the video blogs.

Im not sure I understand all the hate towards that video. Thought it was fine for what it is. I learned a thing or two about the GH5 from it. And its not like I paid the guy.

Quite old but maybe still worth of posting here... whole with NX1 and bitrate hack.

Bro. Panny 7-14mm f4 can be had for under $500. Sony 10-18mm f4 is around $600. It does have oss though and takes screw on filters. Panny 12-35mm f2.8 can be had for $500 Sony: no f2.8 standard apsc lens. But you can buy the FE GM 24-70mm for $1,800 Panny 35-100mm can be had for $600 Sony: no equivalent but you can use the new 70-200mm f2.8 for $2,600... The only other "comparable" lenses are the sony 18-105mm f4 for $500 which is a stop slower and the Zeiss one (forgot specs) that is closer to $1,000. Panny Trinity is under $2k USD used on eBay if you scrounge for deals - for f2.8 zooms! Small and lightweight. Admittedly the 35-100 stabilizer is shit for video but the IQ is fine. Sony lineup has nothing close and you have to use the heavy and crazy expensive full frame lenses for f2.8... Currently the 10-18 24-70 and 70-200 would be just under $5k... And heavy and large. $3k vs $5k. Is that a "fair" comparison? Maybe not, but we have no choice since Sony has no comparable lenses! Sony is boatloads more expensive. Whether it's worth it or not is up to you. The GM 70-200 f2.8 looks pretty sweet since I think they said it was parfocal. The 24-70 I'm disappointed has no built in oss. I really like the 5 axis dual is on the 18-105 a6500 combo. Haven't really been overly impressed with ibis and adapted lenses. No way Sony is cheaper! When have they ever been cheaper?! It's Sony!

Simple Music Video I Did Last Month With Over 1Million Views Already. Lens Used [16-50 S] {Song is in Spanish}

At the moment all we have is a sentence from Matt Fraser saying he tried it for the vlog context and it locked on solidly. Not long now!

I got a Hoyarex split diopter and tested on the bmpcc and Rokinon 12mm cine. I love this old school effect.

Hi there Thanks for a very interesting post. A nice side by side of the three cameras. However, I’m not totally in agreement with your summary of the models. The reasons I still use the C100 are numerous and for shooters like myself, posting to the web, it is still a relevant camera. You have based your assessment purely on image, (which is fair enough) and from that test I actually think they look pretty well matched. But there are other factors to take into consideration. The C300, your winner, (as it would be mine), is 4.8 times the price of my C100 new (6x more than I paid for an as new, used model with DPAF) so I damn well hope it is a better camera. The same can be said of the 1D C at double the price. (B&H prices). Ok the AVCHD codec is not great, but I think it actually stands up pretty well for web-based content. If you need a stronger, better codec then a Ninja can provide that. Sharpness… on the shots in your test that were actually in focus, the sharpness seemed comparable. Again the external recording on a Ninja is fractionally sharper on the C100. The DPAF is brilliant for fast moving stuff… But compared to the 1D C, whose images I actually find the most pleasing in your test, the C100 has a far better form factor. The DSLR’s are horrible to use for video. I find built in ND’s, a proper handle, on-board audio, phantom power, peaking, wave form, Zebras etc leave any DSLR sadly lacking. These are to me far more important than a marginal picture quality improvement). It would have been nice to see a properly exposed shot using the Wide DR shot on the C100, for which you give praise. As I’ve not used it much. So would I swap the C100 for a 1DC … no, absolutely not !! My days of using DSLR’s for more than a B roll camera are over. Would I swap if for a C300. Hell yes, if someone would give me the ten grand extra over what I paid for a C100. So while I agree with your results order for these cameras… I also feel the C100 boxes above its weight, the only current camera I would possibly we willing to fork out for is the FS5.. a better camera for sure, but I’d need to adapt my range of Canon glass and its AF is not as good. So until I absolutely need 4K I’ll quite happily stick with my aging design C100. Cheers Gareth

I've been really inspired by some of the work done on this camera...Just wanted to create a topic where any NX1 owners can upload their latest films...If you like, feel free to share anything you think helped you get the image you arrived at...lenses used, LUTs used, etc. Here is my latest. Rokionon 35mm and Sigma 18-35mm lenses. Osiris LUTs.

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.

I hate working with S-Log. The only thing worse than Sony color is Sony Log. In contrast, Canon Log is wonderful to work with...that's my story and I'm sticking to it.

Not very. The controls are very straightforward --but you will most likely crash before you come to terms with it. I felt pretty confident after a day of practice with an old and used camera-less drone. Then, I flew my actual camera drone into a tree a few days later during a shoot. Boom. Basically, it takes some wisdom to learn how to interpret spatial dynamics from a distance. More important than that is just learning how not to over-react to stuff when flying. All that said, I basically gave up on aerials. I don't find them particularly compelling anymore. Understood that your clients just want it "because," but I really have a hard time rationalizing 'em these days in my own work considering that it's so prevalent elsewhere.

The guy in your video knows nothing. Here is how you interpret 30p "as" 24p (or whatever your timeline is set to), and every frame will be played back without stuttering.

There is laowa 7.5mm F2 for MFT coming soon so should take care of UW lowlight scene.

Cool, have a nice trip!

A Phantom 3 will do the jobs, they are quite cheap too and shoot 4k

Thanks man. Im starting a YouTube channel actually. Wanna start posting videos more regularly. https://www.youtube.com/channel/UCFyIEjsL3T-Bn5xZEKYVvqw I love that. So simple. So great. Im seeing a pendulum swing back to Canon from my colleagues who switched to sony recently. Those Canon colors are so great and the Canon cameras are really well thought out from a users perspective. The reds and blues can be a little weird though when you actually just need red or blue colored things to look natural and not skintone as your priority.

which portable Jib Arm Crane should I buy for about 150 euro? my actual tripod is this I will mount it on top of it: https://www.amazon.com/Manfrotto-501HDV-546GBK-Video-Tripod/dp/B003FGWKJU my camera is 7D mk1 (I will use 50mm1.8). I wish to move/control the arm from the top, probably adding a second fluid head in the future. 1) https://www.amazon.it/Movofilms-shooting-portable-mounting-MF-FLT-4/dp/B012WJBNQQ/ref=cm_cr_arp_d_product_top?ie=UTF8#Ask 2) https://www.amazon.it/gp/product/B00PGDMVGW/ref=ox_sc_sfl_title_20?ie=UTF8&psc=1&smid=AZJLXBECRH82E 3) https://www.amazon.it/gp/product/B01IR6JTIC/ref=ox_sc_sfl_title_23?ie=UTF8&psc=1&smid=A1OFOAOTB9DRPX I saw those ones may you help me to choose the best please? do you have better options/models? may you give me some advice please? I wish to use it for short movies, indoor a lot for orizontal movements. I hope it is not noisy, this is crucial because I need to rec clean audio from the actors. I'm going to buy this system because I can not afford motorized gimbals and my camera have not auto focus for video mode (cant afford a new one). thanks!

Using a jib is a very common technique from soap operasm sports, to films. It is almost impossible to achieve great Hollywood movement, they are not using just a "jib", it takes really specialized equipment and people, and recently a lot of technology; of course you are open to experiment and achieve some things that will make you really happy, depending the project. You can study movement in all the great directors, you can start from here

Nice job with this. I recently started messing around with the basic color board in FCPX and I am really enjoying the ability to adjust Saturation separately in the highs, mids and lows. And then some simple curves or telecine wheels adjustment in Color Finale makes for a simple workflow... of course I've been shooting a lot in slog2 and slog3 lately, so that becomes a different beast and beyond my skill set.

THIS IS SO GOOD!

Marcotec has it: https://www.marcotec-shop.de/de/zhiyun-crane-handgefuhrter-gimbal-fur-spiegellose-kameras.html?gclid=CJr4yMuK2NECFVAo0wodLGsD7A I ordered it from there. They're reliable, it's not my first purchase. Apparently it's got the wrong firmware (1800g) for the A6500. Fortunately this community warned me, and I'm prepared to change it. Thanks jonpais (again)!

Shot on the GX85 with native primes. Loving how easy it is to get nice, accurate images out of this camera!

Exactly Jonpais!!...and I like the fact that Brother is out there excited and playing with the GH5 for a night (he actually mentions that it's all manual focus BTW!)...but he's out there shooting!....sleeping in he's van in the cold to catch beauty light before sunrise...like the energy and enthusiasm more than the armchair pixel peeping...my comment on the GH5 would simply be, if this is your budget and you want a reliable, work anytime you need it on set, or a wedding or whatever, and ease of operation camera, this camera is amazing...and there are more trolls for the GH series cameras than any other cams, so Panny must be doing something right!...as for the exhausting DR discussion, buy some lights and learn to use them, or another camera and go fumbling around in the dark!

Optical stabilization must be the same, but no as noticeable as sensor movements. Moving sensor when anamorphic is fixed, is identical to moving anamorphic atachment when sensor has no IBIS. Mesmerized effect.

Sorry for bringing the old ghosts back, but I can't resist reading the Sony extremeties! NX 16-50mm 2-2.8f, is the one lens can't find in any other system. 2f from 24mm-35mm (equiv) and the specific rendition and image stabilizer of this lens make it an amazing set (that you don't need!) of 2f primes, and a few more 2.8f ones. Together with the amazing AF and DIS of NX1 is a still relevant combo for most jobs. Someone posted recently an asking price of 1200€ for NX1+16-50S+extra batteries+external charger. This is what I call value for money! Fuji is also an option, X-T20 anyone?

Listen, bro! I actually owned the 7-14mm f4. Welding goggles. That's why I sold it after a few weeks and bought the Olympus 12mm f2 instead. For physical reasons, you're right, Basil. I never bothered about too deep depth of field with extreme wide angles, sDoF can look very wrong (three flowers on the window sill. Either the one in the middle is sharp or the two left and right). There is more than the theoretical 1 stop difference between an f4 on MFT and on APS-C. Look at these shots @ 24"ff. You think you can shoot this with a Pana 7-14 on the GH5? The lowlight shots we saw so far don't suggest it ... You proved that! I want to make one thing clear: I'm not a Sony fanboy. I became a temporary GH5 fanboy when the Neumann footage and the specs were published. No buyer will rue it. Everybody has his reasons to buy one or the other. It's not a lifetime decision, and I've been selling my equipment multiple times during the past decade. And I shrugged.

Hello Marco, I work on it. The Tamron it's very nice lens for only 120 euro!! Ihkim it's lost again... But I work on my way ;-)

If that's the case, it's a misconception. Buying a speedbooster can be a rational decision. It allows you to buy better glass for less money. It allows you to capture comparatively more light without smaller DoF. Think about it. People reliably choose the image with shallower depth of field. Not necessarily because the bokeh is nice, but because the selective focus clearly signals that the shot has had an intention. If you follow this path, you never needed to care about set design, framing and all the other arts. Just buy a full frame camera and a 0.95 lens and blur everything!

To be honest, if Magic Lantern team can ever get a usable preview for 10 bit recording then I'd be very happy to stick with continuous 24p 2.8k 10bit on the 5D3 for a number of years yet. The downsample for HD or 2K DCP delivery would just tighten up the resolution nicely while still allowing for a little wiggle room with stabilisation or reframing. At the moment the preview freezes when recording in the crop mode that allows resolutions above 1080.

He says it's MF (5'13"), and that though it's not Dual IS but just IBIS on there is no micro-juddering. I would have been excited too. Let's face it: grown-ups don't freak out about gadgetry. This lengthy video, unrehearsed, practically un-edited, off-the-cuff reality TV, better shows the capabilities of a camera than those thoroughly picked snippets we see elsewhere. My impression: nothing to write home about regarding image quality, but apparently a no-nonsense workhorse.

Go and shoot some documentaries. The office and the street are two entirely different monsters. Engaging with people is as important as engaging with lenses and software.

Even though I will be waiting for the next Sony move (a7000 and/or A7Siii), I am pretty sure they will be finding more than one ways to ef up! I know it isn't relative of what you ask, but I am really longing for a C100markIII or a Panasonic LS300 (with variable sensor and the insides of GH5) more than anything, and I hope just in time for my next camera buy in the summer!

1 - it's not PDAF 2 - first multiple shots on youtube with AF confirm this AF is gonna be a bit faster than GH4, but no magic can be done with contrast detection aF in video

Well I think the next Sony A7 cameras will probably be the way to go, granted they will be nearly a $1,000.00 more than a GH5. Sony is not going to let Panasonic overcome them. Sony seems to be going for the throat lately so I would expect the next A7s will be 10 bit, god knows what else. They are not going to stand still.

Thank you for the kind words. I agree, neo noir is hella cool, I'm a sucker for the genre in general, watched a lot of the staples of the genre back in my childhood and it has stuck with me. Now that you mention it, yeah, there might be a little bit of Blue Velvet in there as well. I've found that large part of my inspirations are often unconcious and become apparent to myself only later. The movie was pretty much zero budget. Everyone worked for free (we had a crew of 6-8 people, depending on the day), I self-funded everything else, which meant the FX, props etc, and all the running costs like travelling and food. Probably spent around 1500-2000 euros on it. We have a studio and own all our gear so we had free access to lighting equipment, dollies etc, and other things we had already built for other productions like a rain machine we had previously made for a music video. That allowed me to keep the costs very low. As for the BMCC, I have a bit of a love/hate relationship with it. For the price, it's absolutely the best, most robust image you can get - if you rule out hacks such as ML. I shot the whole thing in RAW, and it's just a priceless asset, and combined with the dynamic range it absolutely gives you the tools to make a truly filmic, beautiful image. I can see where the mini alexa is coming from. But there are downsides. To get the most out of the image you really need to dip deep into the grading process, and often manually separate colors and tweak them individually (whereas ML RAW gives you the same beautiful color separation out of the box), the crop factor is obviously a buzzkill, and the form factor can get very restrictive. It's a bitch of a camera to operate handheld, even rigged. We had a beatdown scene where I wanted to get a really deep low angle view for a few shots, and I was really struggling due to the form factor and the integrated screen. But, on the other hand, it has kept me firmly employed and in-demand as a freelancer, and I can use it on anything from food videography to documentaries to purely cinematic filming. It's a versatile image and you can get a lot a mileage out of it. Technically it's been rock solid performer, too. On BMPCC vs. BMCC, I'd go with a BMCC, with an MFT mount to alleviate some of the crop factor with a speed booster. I've used the BMPCC a few times and I'm not a huge fan. The user interface is slower to operate than BMCC (the BMCC touchscreen UI is really nice once you get the hang of it), the screen is somehow worse and I've always found myself preferring the image of the BMCC when shot side-by-side, even with the BMPCC speedboosted. It just feels like it holds more information. As far as RX10MK2 goes, the trailer has one shot taken with it, the burning corpse. It was only used as a slow-motion camera. I shot with the Cine profile with some tweaks I'd picked online, as since we were mostly shooting at night, there was simply not enough light to go for S-log at 250fps. Hate to say it, but side by side with ML RAW or BMD RAW, or even the BMCC prores flavors, the Sony image often looks just straight up unpleasant. It just lacks the tonality the other two cameras have, and the colors always seem thin and somewhat off. Matching the shots always takes a lot of work. I've noticed using some diffusion alleviates the problem a little, but it still has a very digital look to it, which ML RAW or BMD RAW do not have - unless you intentionally grade them that way. I'm frankly not too fond of the little Sony, but in this production it was the only way to get the slow motion shots I wanted (pyrotech, FX shots). And as for the troubles - yeah, filmmaking can be gruelling at the best of times. After the principal photography of this I went to DP another movie after only a weekend's rest, and that went on to take 3 weeks with no days off. That one had less production trouble, but it was more cumbersome (3x larger crew) and somehow at worse conditions. Lots of long nights outside in the Finnish winter. Afterwards I jokingly woved to never shoot anything again outside of the studio - but I've found I do that after every movie production. And I always find myself coming back... :D

Oh gosh, that is an amazing video. Thank you.

Sensor stabilization makes my anamorphic image "under drugs": Only if you can shoot on "vertical stabilization mode" like panoramic mode in some cameras could be usefull.

A7RII have PDAF and A7SII doesn't have it, A6500 have but not RX100 V, so yeah i doubt it, Sony have their own way of differentiate product line My A5100 have touch screen phase detection af and it has been out for how long now?

NXL vignetting solved. Canon 70-300mm f/4-5.6 L IS (Price euro 1.500,00): 70mm 300mm Tamron AF 70-300mm f/4-5.6 Di LD - Nikon mount (Price euro 120,00) 70mm 300mm And surprise... Nikon AF-S DX 35mm f/1.8 G ( price euro 180,00).

For me it was close encounters of the third kind, after that... Believe it or not, it was the original ghostbusters.

Hahaha! I made it to the end. Very funny.

Thank you for taking the time to film this this...

Thank you very much m8. I will test it on weekend on BMPCC.

The S35 1080p mode is sharper than other canon DSLR. The full frame is about the same but still slightly better than 5D,6D etc.

The Neway CK1014S should do 4K 60p with a resolution of 3840x2160 with a 10.1" IPS screen. There is s thread about it at PV here: http://www.personal-view.com/talks/discussion/15683/neway-ck1014s-10-3840x2160-ips-hdmi-2.0-and-3g-sdi-monitor/p1

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.

@webrunner5 do not take me wrongwrong, whatever works to whoever! Something is much better than nothing, and I am pretty sure talented people can make amazing movies with a hand made camera obscura, I trully believe that, and if I tell you what kind of equipment I have used in my entire life, iPhone seems like a space rocket! My points are: 1) iPhone is NOT even the best camera phone, why we have threads like "incredible iPhone movie" and not "amazing Samsung S7", or "HTC and Google movies" etc?? 2) the price of acquiring a latest iPhone, with NO SD card option (so, not much space for recording video, really) and a couple of extras you need, exceed the price of an equally (or better) good Android phone (have you checked the Xiaomis lately?) + a cheap, small and light 4K mirrorless camera kit, and I am sure you know that "4K" isn't really the real deal, or else C100 cameras would have been burned on sight. 3) the quality is perfectly fine for 90% of the people, but I am not one of those, and ofcourse I am expressing personal opinions, and latest iPhone pictures are not even close to my cheapest (and smallest) mirrorless, with my cheapest (and worst, but a zoom nevertheless) lens. Any good small pancake from any system (Sigmas, Canon M 22m, NX 30mm etc) and any mirrorless after 2013 is SO much better than the latest phone cameras. People in this (and other) forums debate m4/3, crop sensors and full frame ones, and suddenly sensors smaller than half of my smallest nail are adequate to produce (technically) amazing stuff? Personally, my sweet spot is 1.5X (for a lot of reasons), and I don't like debating for sensors sizes as it is mostly a personal desicion and everybody have its arguments, but mobile phones are perfect for old compact camera users, still there is a small pro/semi pro/enthusiastic segment, which I am part of, that compact cameras of the past and new, are not right for us (and I am not talking about the thousands of euros Sony, Fuji and the other high end compacts of course!).