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Finally got a chance to fool around with my secondhand 5D mkIII. I also recently (last night, actually) modded a set of Contax-Zeiss lenses with fixed 2x oval apertures. These were shot with a 28mm. oval bokeh and a full frame sensor is a great combo for faux anamorphic. not only do you get the unique defocus characteristics from the oval aperture, but full frame gives you the increased field of view you'd expect from using a real anamorphic lens.

im kind of glad they dont listen lol. its for the cool kids ?

I just gained interest in cameras... I am a Samsung fanatic and just found out about the NX1...after finding out is the best mirrorless camera up to date I discovered it was discontinued... What the hell??? Should I buy one regardless or look elsewhere?

I shot the full 1920x1080 frame, used my SmallHD monitor with a 2.39:1 overlay to compose with. this way I can tweak the framing higher or lower in post before cropping the final 2.39:1 frame. I prefer 5D + ML Raw overall -- things I like better than the BMD sensors are (1) full frame, full frame, full frame, and (2) the BMD sensors in the Pocket, Micro & BMCC all struggle to maintain good color rendition under tungsten light. While the Canon still looks fantastic. Now, if I could just get 48 or 60fps working...

It's not an either or situation...if you're shooting a commercial or a film, you would have a focus puller....you would, whether shooting on a GH5 or C100 or RED or Alexa have at least 3 in the camera dept not including the DP....when the crew cost is 100,000+ per day, telling me that AF missed my best take, is not an option...not snobbery or being pedantic....simply what is economically involved on some shoots compared to others...shooting corporate videos or documentaries or weddings are no less professional as people still get paid....perhaps the biggest difference is that now you're working with a crew of possibly 2 or 3 people (in the case of a documentary I may be short)...you control the edit and if AF misses in a few shots, you're not going to use everything you shot anyway...so a few misses can be worked with...to shoot a 30 second commercial with say half the day on a sound stage and 2 other locations, takes between 3 to 4 prep days...a shoot day between 12 to 16 hours (not flat!) and a wrap day....so...the AC needs a focus puller....the director wants his stuff in focus and the producer does not try to save $350 on the shoot day because it's ridiculous...the one scenario is no more or less professional than the other...what is different are the scales of economy...and of course there is one important factor not being mentioned so far (maybe I missed it)...as with all artistic positions nothing is cooky cutter...and pulling focus and developing a rhythm that works for the scene and making decisions as to when to blur the image, when to rack and when to stay sharp throughout the shot happens in real time...decisions being made between the DP, director and camera department...something AF simply can't do...and make no mistake...pulling good focus is a difficult job at the level of narrative...it requires an instinct for the speed the actors move through their marks and how you follow them on the follow focus and excellent eyesight...it is a precise and demanding job....especially shooting in unforgiving resolution...and lastly....if we're shooting in 24p, because that is the frame rate we are accustomed to in movie theatres...the motion blur we want to see, and yet we use AF which is always obvious to the eye...why not just shoot in 60p as it handles movement better and gives you more than twice the frames per second...so much better image...EXCEPT we want our stuff to look like what we saw in movie theatres when we were kids!...well, to some, the same applies with AF/MF...it's a question of creative choices, economic choices and finally practical choices (the delivery of the final product to client)...neither is superior to the other and nor are they replaceable....the one works where the other would not and vice versa.

@mercer I am with you! Give me raw for 200euros! why not?! I am not against the workflow (even though it doesn't fit my profile at all), high end features are always welcomed, in whatever price range, my point is that in this entry level category, not a lot of people care about raw, most just need dependable, reliable machines to work well day in - day out, and even cheap media and less backup space play their role in this category (NX's H265 rule! as I keep 2 backup and 1 working project). That's is why the most used camera in my country is still C100 (even the older versions), and FS5 sell as well, mostly because of the e-ND function. Ursa mini Pro with the EVF, SSDs and battery options are almost 10.000 FS5 needed a 600$ update for that (I am not sure what's the policy now) and you needed a top of the range external video recorder, while the 4300euros Canon C100markII does 35Mbps 1080p. I am not trying to bring you down, I just like to be realistic with my expectations and the market we are in. If you don't understand why someone would choose a Canon C100mark II, a FS5, or the new Panasonic instead of the GH5 (even in this market) then these cameras are not for you, GH5 or an older Black Magic are just fine for your workflow I guess. To be honest, I would prefer a price closer to 5000euros, and let Canon/Sony to worry about their pricing, with or without raw.

I know I am in the minority here, but AC or DIT duties do not exist in any kind of production I am currently working on and to be honest, the idea that people like me, with all of the available equipment to make a professional looking movie, at our fingerprints, are treating their productions as if they were filmed on a Hollywood lot is completely nonsensical to me. But whatever, not really my place to judge other people's scenarios. But again I'm a hobbyist that works with friends and first time actors. The goal is to get in, get the shot and move on... a 3:1 shot ratio at most. I have enough cards to get an hours worth of footage and it's highly unlikely I will ever need anymore than that on a day's shoot. I get why Raw would not be possible on low budget films when you have a Line Producer breathing down your neck, and every minute is scrutinized before lunch is called... but I don't have those limitations. But I also see your point for my scenario where a simple production workflow could be more beneficial... it all depends on the project and schedule. So to get back on topic, I still believe with the rumored cost of $6500 for this cineX Panny camera, it should output Raw, especially when every other camera, at that price range, shoots external or internal Raw. Just my opinion of course.

Hello, I was wondering if anybody got some good luts to share for the ursa mini pro? (I already got the Noam Kroll Alexa one, and franks instant cinema). But I feel like they are doing to much, lifting exposure, Adding too much blue. I know I can fix this in post. But I am looking for a LUT that I can use in camera that looks kind of natural. The comet color one looks nice. But the pricetag is a bit much at this point. Thanks!

@Henry Silvestriz Depends, if you can find a great combo with the 16-50S, then I say it will be great for the next few years, and cheaper than the new future cameras (as you see the flagship models are reaching 2000$ territory body only). If you like to have the best and the latest, then wait for the next Fuji or Sony (the next ones, not the current ones), or buy the GH5. Definitely NX1 is a peek to the future, unbelievable ergonomics, battery life, H265 codec, some excellent and cheap lenses (fish eye, 30mm + 45mm). If you add more info about your intended use, we may be more helpful @Santiago de la Rosa If you have NX500 and you know what it is, then you would find NX1 just amazing. Completely different cameras though, the one is a pro hybrid, the other ain't!

If you are a one man crew then I think it is an even stronger argument not to shoot raw. You don't want to be fluffing around with AC or DIT duties.

Yeah, parts, labor, and shipping for C300 II. I'd probably get a Gratical-X (http://www.zacuto.com/gratical-x-hdmi-evf) before paying Canon $710 for the stock viewfinder (will be very careful when I clean it!).

@Juxx989 Hey! So far I think my favourite is Vivid with -1 saturation and -2 contrast, along with 0.98 Green and Blue, sharpness at -10. If I'm in need of more dynamic range I switch to Gamma DR with -5 contrast and +1 saturation. I don't think that 0.95 on green is good as it makes skin too red and also makes whites look red too. I've shot some side by side footage with my Fujifilm X-T2. Will be posting over the weekend

I'm really curious to hear about how to monetize on streaming, particularly with bit torrent, etc. getting in the way. Can you PM me?

Not sure where you're going with that? Are you leaving EOSHD because you feel like you've outgrown it or something? Or was it just the point of saying 'thanks' for allowing the guidance of your journey to your present day situation? So, I take it everyone is welcome here whether you own a cellphone or a RED. But... there's a lot of people that could use some help figuring all this shit out when starting out. And there's just too many places that are too pro, too serious and couldn't care less about n3wbz. I feel like here, there's no judgement, whether you're using a Sony F35, URSA Mini, GH5 or T2i/550D... it's all good, it's about getting the basics right and being able to deliver convincing content and there's more to that than an expensive camera. Think the crowd here is mix of professionals and enthusiasts that aren't quick to judge and are supportive of eachother. Positive vibes. There's too few places like that around on the good ol' interw3bz. Anyways. There's continuously going to be people starting out and not that quick to drop $3k+ on a camera and of course the core that gets more experience and higher end equipment as time goes on. That just allows for more interesting insights and knowledge to be spread around here, so personally I don't see the DSLR community going anywhere... if by that you mean the users of consumer & prosumer DSLR and mirrorless cameras that want to practice their art and be executing their talent as cinematographer or filmmaker. And isn't an URSA Mini a mirrorless camera at the end of the day either? And one more accessible than an ARRI? Seems there are a lot of 'coffee and <insert interest>' events popping up everywhere. I feel like maybe this is a 'coffee and filmmaking' hangout, where you can just talk about whatever is on your mind filmmaking related (or occassionally even otherwise) amongst people with similar interests.

Top. Bottom one is to pink in the skin tones.

Canon's Duel Pixel auto focus reliability FTW. Anything else is a risk. Also most "high end pros" do multiple takes on controlled shoots with multiply angle shots so I doubt they would care about auto focus too much unless it's follow focusing on a subject moving toward or away from the camera....even then I'd only rely on Canon's auto focus. But the high enders are shooting on film, red, or arri.

@tomekk- those look like fantastic LEDs. Excellent spectrum examples on their site as well, and excellent R9 performance. As competition heats up, expect even better light performance, not just in color but also thermal and luminous efficiency per Watt. Fiilex-sized (and build quality) point-source lights with more power will be amazing! (Aputure produces excellent light, however not in the same class in terms of size, build quality, and industrial design (to be fair, Fiilex are much more expensive lights per Watt/Luminous output)). Fiilex is just releasing the new 360 Pro Plus: http://www.fiilex.com/products/P360_ProPlus.php. At $995 ($845 without hue control (still has color temp control)) it's a few hundred more than the Aputure 120d, however it's also variable color (including optional hue control!), much smaller, IP24 weatherproof, and has many cool modifiers available. The Aputure uses 135W vs. 90W for the Fiilex (+ Fiilex is variable color), so I'd expect the Aputure to be brighter, however we'd need to see independent tests for lux at 1m for both lights). Fiilex has more powerful lights (e.g. https://www.bhphotovideo.com/c/product/1043613-REG/fiilex_flxq5ac_q_500_ac_5_bfresnel.html), at $2k we're no longer in the best-bang-for-buck category (the build quality and light quality is amazing. Would be interesting to see a comparison with the new Aputure 300d when released).

What does something like that set you back, though? I'm guessing... quite a bit ('Voigtländers back' -> you had to send 'em over?? 'Duclos' (expertise = $$$). I imagine something like Alan showed would work as well? Or get custom 3D scanned/printed fittings? There's a 3D store right around my corner, bet they're popping up everywhere these days, if you don't already have some set-up at home. Awesome. I love how filters can transform a lens! Perhaps a seriously undervalued asset by many shooters. Though, you always seem to nail that urban earthy vibe, so can't give these filters too much credit.

Never shoot above 1600 ISO unless you must, avoid anything above 3200 at all cost you will destroy your image. Change all settings in colours to R1.00 G0.95 B1.00 these are the colour settings because the cameras have green bias you will loose a lot of vibrant green colours. You can also do 0.90 with green works just fine too depends on what you prefer. Also get the hack either Kinoseed which is easiest to install but slowest to initiate at startup or Vasile's hack which is ultra fast but does not have as many features for picture mode. It sort of help with the loss of information duo to high ISO use, but most importantly it reduces compression artefacts in footage greatly.

5D RAW upscaled to 4K 5D RAW upscaled to 4K + a few XC10 4k shots and Blackmagic pocket cinema camera shots on the bus, and car dialogue scene.

Sorry wasn't trying to be mean, but when someone is blaming a product for not being good and it's really due to their lack of knowledge well then let's call a spade a spade. A forum full of knowledgeable people are trying to help and the op is being stubborn in my opinion. This post is almost troll like. Maybe that is why I am caught up wasting time typing this out? Dunno...

I believe that it would be your grading skills that suck rather than the cameras colours?

I previously had the same feeling about Sony Slog 2. But recently I realized that the problem was my workflow not slog2. Here is my recent experience, testing A7R2 in slog-2 with Adobe premiere witch gave me good looking (not necessarily accurate) colors: - first I applied a color transform matrix to convert sgammut to rec 709. take a look at this post: - then I tried to add contrast and saturation with lumetri color. I was Kind of happy with the results but then I tried applying Adobe's Slog 2 SL LUT (in lumetri effect, basic corrections) and found out that it game me better results and I no longer needed to manualy add saturation, just contrast. So in a nutshell: Apply channel mixer effect > Apply S-log 2 SL lut > Add contrast. I also tried Resolve, first i applied Resolve's own Sony S-log 2 to Rec 709 1D LUT (from nodes panel) then found that I need to bring down the Gain quite significantly (I dont know why it happens) and then added a little bit of saturation and it gave me comparable result with premiere workflow. I was aslo recording both internally and externally to a shogun, I found that shogun files needed a data range adjustment before starting the above workflow. you can read about this adjustments in here: https://***URL not allowed***/fix-crushed-blacks-on-sony-a7s-and-a7s-ii-external-recordings/