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Am still working on my film and still loving the results. Here's a screengrab from my shoot yesterday. I just threw a LUT on there, to get it into Rec709. I'm sure the final look will be different and more refined... However I do have a question for some of the ML Raw veterans out there... I tend to shoot a lot of silhouettes, and I am finding it tough exposing for them. The Raw histogram is telling me it is overexposed when the sun is in the shot, so when I close the Iris to get me some sun stars, even though it is still showing as over exposed, I am getting a crap ton of noise. I know @squig ends up with some dark footage, any ideas? Also any new news in 3K/4K Raw?

Anyone guess what might be going on here then?

https://www.amazon.com/dp/B071S8DH6F/ Passion project titled GODDAMMIT. Typical of many passion projects, I wore many hats. Directed by Ryan Moser Writing Credits Ryan Moser Keaton S. Ziem Produced by Jason Antico Rob Goldman Ryan Moser Keaton S. Ziem Cinematography by Ryan Moser Film Editing by Ryan Moser Editorial Department Ryan Moser ... colorist Sound Department Jason Downer ... sound designer / sound editor / sound recordist Music by Twilight In Versailles Grading System: DaVinci Resolve 12.5 Location: Los Angeles, CA USA Camera: Samsung NX1 Format: UHD H265 Type: Short Film Duration: 7 minutes Workflow: Much of this project was achieved with an arduous amount of time and energy spent in pre-production. Before production, I personally inquired and received helpful information from this very site. Camera and lighting choices were tested and nitpicked down to the finest minutiae. The compositing work was achieved in After Effects and had a final assembly within DaVinci Resolve. A lot of the latest features and FX within Resolve such as glows, etc. really elevated the overall look of the project.

Yes And yes again. Its for live interactive control of the profile, sharpness, noise reduction, saturation, hue and ISO to create new custom profiles. Amazingly enough, it actually work as well! Even more surprising is that it allows this while you are recording.

This is how some future archeologist will find me, with the loop of incremental parameter changes still merrily being fired at a Panasonic G7 in the background. One of those where we don't like what we see on a histogram but we do like what we see in the actual image. There's a moral in there somewhere...

Haha. Where am I going with it? I think you and I are in accord over how much received wisdom there is with much of this stuff. And truth be told I'm as guilty as anyone else for perpetuating much of it! When you consider the image controls available in a G7 etc you have the following : 8 Base colour profiles 4 Individual modifying parameters to those 8 (Saturation, Sharpness, Contrast, Noise Reduction) each of which have 11 possible settings (+5 to -5 and 0) 2 Global parameters (Highlight and Shadow) both of which have 11 possible settings (+5 to -5 and 0) That means that there are over 1.7 million different combinations. And thats without the additional Hue control that some Lumix cameras have. Oh and thats 1.7 million different combinations per profile. Can anyone honestly say they've tested all 14 million combinations to determine their definitive setup for these cameras? Obviously no one has, even though I know sometimes it feels like we have And on the basis that all of these parameters do actually make a difference, there could be some really interesting combinations of them that no one tries because the received wisdom (and lets be honest with 14 million combinations its no bad thing to use that) tells us that we should use a smallish core base and then tweak from there. Do we actually know, for example, if you have the noise reduction at +5 and the shadows at -5 and the highlights at +4 on a Natural profile with the saturation at 3 and the contrast at 2 and sharpness at -3 that these cameras don't suddenly look like you've got Kodachrome 64 in them? No, because we'd guess that those settings would make it look like it horrendous and not go near them. Does anyone even really know what happens if you have the noise reduction at +5? Does anyone even really know if it actually works at all as I can't imagine most people have ever tried it at that setting. And the reason we don't know, in my opinion, is that not only are there so many combinations but that its just too fiddly to be diving in and out of menus to change them and have the immediate feedback of what the interaction of those parameters actually looks like. So, where I'm going is to make that a lot easier and hopefully people can come across some happy accidents and make profiles that they don't have to spend hours tweaking later.....

So the 5D/1DxII DCI 4k 4:2:2 8bit MJPG at 500 Mbits that you can edit in real time without transcoding even on a notebook it is insane but at the same time everybody is crying because the C200 does not have a DCI 4k 4:2:2 10bit at 400 Mbits…. and also everybody is eagerly awaiting the GH5 firmware that will allow an edit ready 4k 10bit 4:2:2 at 400 Mbits. But hey 400 Mbits is perfect and 500 is insane...... If you want to edit ready 4k without transcoding in a good quality you will end up with at around 400 Mbits anyhow…. IMO the best B cam for the C200 is another C200 or C200B. It is a big advantage to have two cameras the same that you know the pro and cons, the menus, the customization, the button layout, the expect output, the sensor characteristic, same DOF, same lens and crop factor, NDs, the AF behavior etc… Additionally you have the same battery, same media, same LCD etc… so if something breaks or is forgotten you mostly have a second one with you. Personally I already hate switching between 5D and 1Dx… So you will save time, have a perfect backup and probably at the save money. In my case if I will buy the C200 the B cam would be my 1Dx II because I use it a lot for photography and in particular for action photography but if I would only do video probably I would buy a C200 and C200B. If budget is an issue a C200 and a used 5D IV would be the best compromise IMO.

No, the post can't be edited unfortunately. This is the current (and very likely last in this incarnation) version of the html file. The hue control is undocumented in terms of absolute values so you will have to experiment to push it in the different directions by amending the following line and change the last value to effect the change http://192.168.54.1/cam.cgi?mode=setsetting&type=colormode&value=cinelike_d&value2=0/0/0/0/5 Positive values will change it further towards Violet/Magenta and negative values will change it further towards Yellow/Green. The preset ones in the html file are 5 and -5 respectively but they are just meant as a starting point for your own experimentation. With regards to a release log, its probably a bit too low tech to need one to be honest ! As I say, this incarnation of it (barring something unexpected with VLOG) is as far as it goes from my making any new versions of it but I think other people are making their own versions of it now so perhaps they'll do some more with it. It was purely from my point of view a way to begin prototyping wifi control of the cameras rather than an end product in itself so all my efforts now will be towards the hardware controller. The ongoing thread for that development is here And there is also likely to be something else that will be side developed regarding a more hands on approach to picture profile control that is coming out of this thread here When I say likely, I mean I'm probably going to have it working by Monday DEPLOY CINELIKE D V HUE EXTENDED ISO V2.html

I have no self-control lol. Especially after two beers. I'll let you know what I think. Neither my C100 nor SL1 have a hint of decent autofocus but I can put them through their paces.

But in terms of being smaller, lighter, and cheaper than the C200, it leaves something to be desired.

It is an issue for me. Im part of a documentarian team that shoots, with my wife, an A and a B. As such, I'm frequently looking to rent or buy camera pairs and lenses. Typically, for our own self-financed films, I'll purchase the gear on deferred credit --and then re-sell the stuff 4 or 5 months down the road when everything is shot and in the can. The depreciation between the purchase and resell is what I consider my "rent" fees. Gear comes and goes this way and the cost of having the stuff while the work is happening is very reasonable. Cheaper and more flexible than actually renting. For instance, we bought another GH5 recently simply to pair with the initial one (purchased for another gig) and now we'll be using those GH5 cameras for the summer. Id love a bigger budget, eventually, to possibly employ this strategy for higher end cams such as the Canon C's, but the low overhead of the hybrid gear is effective for doing this sort of stuff on the cheap. Also, I like shooting doc video on a photo camera. I think it offers a certain comfort among subjects/people. It does often seem that they aren't indimidated by that as much as they are with "big" or "real" gear.

I don't know what caused the person who filmed that to fall on his head and damage his brain so much that he thought filming that was a good idea. Maybe the same insanity that Kathy Griffin had? Utterly insensitive and stupid.

You could use this epoxy : LOCTITE M-31CL from Henkel. It is good for glass applications, is clear and not very viscous (great for not having bubbles). I used it once to bond ceramic to glass for a very specific application and it is great. Just be careful to let it sit for at least 2h (as Glass/Glass adhesion is critical) and use the proper mixing nozzle. I don't know how it affects optical performance for sure though but is is very, very clear. You can try and contact them, they usually have good advices to give.

Knobs!!!!

Apples to oranges ; ) Glenn, call it founding fathers of POV's responsibility... As you wish. Point taken, anyways :-)

I'm for C200 A cam and C200B as B cam, assuming the 1DXMk2 is out of the pictures for some reason. Hell Canon even call it the C200B... Can you take the hint!

Aren't they deactivating the Hubble space telescope soon? Maybe you can get a good deal on it. If you want to breathe major new life into your 7D, look for a used Mosaic aliasing filter on eBay. It will also sweeten 7D raw in a big way.

I guess it would be great at 60p for slow motion zooms.

They won't say anything yet because the C200 hasn't even reached their premises. The majority of rental houses would not say the C200 is an A-Cam by the way. No way. That's like saying people are currently renting the C100 as an A-Cam. For that it would need at least a broadcast quality codec and for the moment that is not the case. This is not an accident. The vast majority of rentals are for cameras that people cannot afford themselves. The average price point for a camera rental package is 10-30K. Otherwise people just buy the cams. The C300's go out all the time. They are one of the most popular cameras out there for rental. The cost of renting a C300 is not very different than renting a C100, so why go with the latter ? I know this because I worked in rental houses. And by the way, the camera is to a rental package what the burger is to Mcdonalds. An excuse to sell the fries. It's all the extras around the cameras which people cannot afford where they make their money. In larger markets like Los Angeles and New York by the way, the majority of owner operators own at least a RED Epic. It's practically expected by clients these days. That's minimum 15K. Sad but true (I pretty much hate RED). You spoke about the rest of the video market. The average level of camera for working professionals for local spots is at least a Sony FS7. Configured that's 10K. That is because it is broadcast spec and has the minimum bells and whistles. The same reason why they might own a C300 as well. Showing up with only a GH5 or an A7SII would be a big no-no for even local producers. By the way, I haven't worked for Cinema5D in about 4 years, so frankly do not have a clue what their thinking is around the subject.

If you get a cheap 95mm UV and knock out the glass, that has male 95mm threads and costs very little.

Your whole premise is based on a slice of the market that isn't representative. Ask any of the distributors, retailers and rental shops and they will tell you that the majority are using the C200 as their main rig. That RED, C700, F55, Alexa users will consider it a B-camera does not make it "Not an A-cam" in the eyes of the rest of the pro video market. I know Cinema5D think $8000 is little money... all those ads are clearly paying well. For the rest of us it's an A-camera.

What seems clear to me is that they also want C100 users to make the stretch upwards and they don't want to destroy the C300 market, which is broadcast, by bringing the broadcast level codec on board too soon. Who wants to bet against me that the C300 III comes out before this codec ? I think the C100 series might also be toast in fact. But that remains to be seen. The RAW lite adds extended dynamic range and touches the indie market and the dual pixel AF is attractive to a lot of other folks in the industry. I think it will smoke the new Panasonic for this reason. For me it is very clear the C200 is a B-Cam to the C700 and the next generation C300 users.

Polyester style glues/ resins take a long time to off gass...I would also stay away from any Polyurethanes...5 or 10 min Epoxy resins or any cure time epoxy will be best...they will also bond best with both metals and glass or plastics....if you glue to plastic,a small trial test where it does not matter may be in order...for example Styrene in Polyester resin eats some plastics...lastly once the Epoxy reaches it's designated cure time, it turns completely inert...no off gassing once cured...I would choose between 5 or 10 min Epoxy depending on how much time you need to do the work....the mixture is somewhat forgiving too...more or less 50:50...but it will cure if you're off...it just varies the cure time.

I can't give you the definitive answer regarding the exact combination you're after but I've got an 8mm Samyang that I've put on a Nikon D800 to do a quick test for you. The D800 is obviously full frame but does auto crop at 1.2 and 1.5 so these examples show you exactly what it covers at full frame, 1.2 and 1.5 Judging by that, I'd say you'll probably get away with it. Maybe

You can use this formula: 256GB/((MB/s * 60)/1000) Prores 444 XQ = 17 min on single 256GB Card Prores 444 = 26 min Prores 422 HQ = 39 min Prores 422 = 58min Prores 422 LT = 84 min

Guess what I just bought. Yes, both the lens and zoom rocker. If nothing else I have a new travel lens for stills.

In what role? Just curious. Camera department? If so I have a few questions. From what I've seen this is 100% true. Different flavors of raw are different flavors of pain so I try not to generalize that every raw workflow is a nightmare. But I would prefer 10 bit log prores over any other format as well.

Until it shoots 10 bit log, it's a non starter for me. I agree with Andrew in that RAW can be hassle even in a pro environment. I work on a lot TV shows in the US. Episodic, dramatic stuff for networks and such. Virtually all the shows (except Netflix), despite their multimillion dollar budgets, shoot pro rez on Alexa in Log C. They could shoot RAW but don't want to lose the time and endure the hassle of RAW. The bigger the show, the more money that time costs.

Its highly likely that it will be purely dependent on what controller people want to use. Its fundamentally in there but just mapped to a thumbstick at the moment. A controller with a fader in (or many faders) is easily supported. Watch this space, I suppose.

Well, I just used it inside a cheap junker lens. We'll see what happens,

Could you talk me through this behaviour with the AF-ON button Jase and whether you know if it is the same on the 45 1.8? I have the 45 1.8 and when I'm testing it with my hardware controller in MF mode I can focus manually by wire with the joystick and activate an instant AF by pushing the stick in and I can also activate a joystick steerable mode where I can move the focus point around the screen and then press the stick in to activate an instant AF on that point. I'm curious to know if this would solve the issue for you if it did the same with the 17 as I don't have one of those to test with?

@Mattias Burling I can't vouch for other manufacturers in the states, but I have bought multiple times from Canon USA, refurbished. They look new, just in a different box. And they come with warranty. Other third party stores claiming "refurb" and a scam? Maybe. At least refurb straight from Canon USA? I don't think it's a scam.

The very first prototype I did was not too dissimilar actually !

I think its a big deal too, outside of the 5d4 and 1dx2 you have the XC15 and ..... And all of those have shortcomings that aren't as appealing to me, the 5d4's crop and no EF-s lenses (unlike E-mount that can use FF or APS-c lenses), the 1dx2 is a lot to carry for one stretches, the obnoxious file sizes of the mjpeg 4k are a few things that stick out in comparison to Sony. If you're looking to shoot stills and video from the B-cam, something like the A7r2 makes for a much better B-cam IMO. Plus you have a63/500 and the RX1005 among others as B/C cams. Or you could use the A7s2 rigged up as your main video camera, the r2 as the B-cam and the RX1005 for cutaways, slo-mo and so on. Many more possibilities with Sony for sure. Personally I like the C200 and will rent one when it comes out to test for a couple docs I want to shoot, but I shoot a lot of stills (easily 25k a year or more) and its hard to go back to a Canon sensor after Sony's DR. Now if the 80d's replacement has 4k, and the next Eos M has 4k it'd be a different story as we'd have great B-cam options, but that's just not the case. For C100 shooters looking for 4k, the C200 is a no brainer. For hybrid shooters (like me) and those looking to keep a smaller kit, its a tough sell compared to Sony. Cheers Chris

I am currently checking out two controllers to use with it that I think will be the definitive ones for people to choose. There'll be an update with them next week so stay tuned !

Very useful, thank you

Update: Sent my NX1 into service and it was repaired and covered by warranty - replaced a 'PCB' at the top of the camera and is now working

Nice one JCS !! The speaker's skin tones look quite natural on my monitor. Does "Boots" have any interest in sculpture ? only some dogs are creative and artistic.