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Link: https://www.reddit.com/r/videography/comments/6j535x/i_made_a_dank_meme original source: https://tapas.io/episode/277406

I love my X-T2. I've only had it for about a month and used it mainly for stills so far. Planning on doing more video soon. I carefully chose my lenses around their IS zooms for video use and their weather-sealed primes for photo. Here's a couple shots I got in Hollywood.

Spot on..... I've filmed entire paid music videos on a GoPro because that was the vibe, attaching a small camera to everything POV style. In a studio, I've used the FS7 only because it was a tripod and I need chromakey slow motion at an affordable rate. I filmed my biggest ever project... on an A7S II. There was no chance to do lighting, we had to run around all sorts of locations and grab shots on the spot. I used the old C300, even though I had three other Sony cameras. The interviewer was adamant about "natural, organic, really good looking skin" in the interview. The video above, I used the A6500 with one lens to stay very discreet on the streets and still get a high IQ with a minimum fuss. Yesterday I used the FS5 and Inferno in ProRes as we set up 4 scenes in a very controlled space and needed very high resolution, high bit rate compositions as the colour management was very difficult with all the multi-colour neon signs knocking around. That said, the EOSHD vibe is certainly favoured to small mirrorless, and most of the work we show here is very "street", minimal kit and run n gun. I find it a much more enjoyable experience shooting like this, because it's very liberating. Creativity is the quality of the idea. Choose the best way to get the best out of the idea. In Hollywood, it's a huge crew behind 3 Arri Alexas. For a lot of us, it's a GH5 with a Zhiyun Crane and a GoPro with no permits. Whatever works best given the material.

Custom single focus test 35NAP 2-2

No, it exists mainly in the dry box now Ties in with the other thread on a different level really about there no point something having 20% better image quality if its 100% more difficult to shoot with. I think thats why the X-T20 might be the decent compromise for people after the image quality of the X-T2 with more of the form factor of the G7/G80 sort of camera.

Looks great. That little extra resolution is nice. Somebody wrote a while back that 5D3 ML Raw just makes them smile... and it's so true.

Finally managed to get my head around processing crop_rec material, so did a small test at around 2.7K mastered in 3.4K Anamorphic Setup: 5D3 Helios 44M Bolex-Anamorphot 32/16/1.5x Graded using @hyalinejim Kodak Ektar 100D TWISTED lut (Thanks!!).

Yes, there's much more of it in the shadows I'm awaiting the session capture from an old firmware GH4 to finally extinguish everyone's hopes of it being doable.

I am not impressed at all from such videos. Most of us we would be able to do something similar if we had the time and money to be in the right spots in Patagonia for a couple of weeks. The epic music, without anything happen at all is lame too. Planet Earth I in blue ray is a great achievement in my opinion with the story being King (as it should) and sight and sound follow (as it must) - Planet Earth number II, not so great, even better technically, newer cameras and the such, not that great story wise.

Size and less interference with cables, cage, etc. And for street shooting a flip screen is awesome. People think you are fiddling with a menu while taking their picture. A fully articulated is more "Hey look at me, I have a camera!"

I don't think we will ever watch films in VR well i don't i will just not the same experience human are social animals we like to watch film together be together and in my experience with VR is solitary experience and lets not forget that 20% of population cant handle VR motion sickness if VR ever takes off it will be in Games, architectural design and real estate. And watching thing in 8k that is few cm from your eyes i see lots of problems mentally and physically. PS turning your head around in 360 watching Jurassic park looking for dinosaurs looking up and down and shit i just don't see it. Unless you like to see Jeff in 8k 360 up close and personal

The 4k image is god damn superb. Some people love the retro controls, others think its a bit too fiddly.

How do you define creativity though? Yes, if you film street photography style footage, a GH5 will offer more creative freedom than a fully rigged Arri. If you are filming from a camera mount on a snowboard, then the GoPro will offer more creative freedom than a GH5 If you are filming fast moving skaters, then a DJI Osmo will offer more creative freedom than a GoPro If you are filming the aurora, then a Sony a7s ii will offer more creative freedom than an DJI Osmo If you are filming music video, a C200 will offer more creative freedom than an A7s ii and on and on..... There is no one camera that offers more creativity for every type of filming.

I'd rather watch a David Lynch film shot on DV over anything made by anyone on this board. But that's just my opinion.

The trickle down effect from 8k cinema to consumer model cameras will inevitably happen, where horrible colours and in-camera sharpening and compression will no doubt be employed. Codec support and media will be slow to catch up and be supported as a standard...much like happened with 4K. Marketing will indeed by hyped, clients will assume more resolution is better etc...it's the same story each time. I wouldn't be too concerned though, it's a long way off until existing HD and 4K is properly implimented yet. Many broadcasters and web platforms are still yet to catch up. The distribution and processing of high bandwidth data is always going to be the bottleneck...it takes time for the price point of many factors to converge for these things to become economically viable enough to implement for mass consumption. 8k camera acquisition gives amazing options for filmmakers to implement for 4K/2k delivery but 8k as a resolution for consumer presentation and delivery...is a long way off (and mostly pointless in many cases for traditional projection viewing). If a wedding client specifically asks for an 8k delivery anytime soon, then they either have a suitable budget to give you for the job, or are completely clueless. Good colour science and dynamic range is what most camera manufacturers know is what makes good pictures, resolution boost is a bonus if it does not complicate workflow too much. But as happened with HD/4K buzz when it was new...you will initially have a load of crap coming out so it can wear that 8k badge on its side. I suspect that s35 will be less of a standard with these bigger sensors becoming more common. The Red helium 8k VV looks like the way things are heading...camera-wise at least. That camera in particular is the first thing produced by Red that I think delivers on their braggy-jock rockstar attitude that they used to throw around.

The last feature I was on that shot 35mm had a very low shooting ratio, got a killer deal from Kodak, and used horrible low quality scans. I think the added cost of shooting film (despite a virtually free camera) was nearly $200k. This was the ABSOLUTE cheapest deal around at the time, and prices have gone up. I just can't figure out how you're shooting that cheaply. They also shot with a digital b cam for a pretty substantial part of the shoot. I find lab fees and scans significantly more expensive than film stock if you want high quality 2k scans. What labs are you using that will develop and 2k scan 400 feet of 16mm for $200? I've yet to find any but every time I budgeted it out shooting on 16mm adds at least a few thousand dollars to the budget for a 10-minute short, and maybe much more. I agree having a digital b cam is smart. That said, for a short film, a few thousand dollars is not much, but difficult to stomach when it's all out of pocket and with no hope of a financial return.

...saying that, the example video does look a bit distracting, mainly because the detail is being combined with very deep depth of field, causing a bit of 'sensory overload' - especially when subjects have vivid colour. I'm also not sure how many actors and actresses will appreciate every pour of their skin being revealed in a closeup at 8k, they complain enough as it is at 4K which is why digital makeup has become a very common thing these days. My guess is that by the time affordable 8k consumer cameras become common place, I suspect the actual resolving resolution will be closer to 4K after broadcast/streaming compression takes its toll, not to mention whatever tricks the camera is doing at source to quickly write to compact media. For now, Red seem to be getting it working pretty well. Mark Toia seems to describe the advantages of 8k as a capture format quite nicely (even though it's a bit of a sales pitch)..

Thanks jon and that is true. It's hard to shoot without IBIS once I've used it. And I have used Panasonic's, Sony's and Olympus' version. Of those 3, I find Olympus' to work the best, but I already have an amazing 1080p camera, so for me to invest in a 4K camera, for casual use, for $2000, the e-m1 Mark ii is a hard pill to swallow. I have tested a ton of cameras over the past year or two and I have repeatedly said my two favorite images are from my 5D3 with ML Raw and my D5500. And even though I am intrigued by the D7500, the lack of features and crop is keeping me from buying it at $1250. As a Canon and Nikon shooter, it seems like Fuji may be a good alternative when 4K, color, and organic image quality are my top priorities. For some reason, I don't know if it is the photographic history behind these companies but after hours of extensive research and hours of extensive testing, I have learned that I prefer the image and color from Canon, Nikon, Olympus and Fuji moreso than from Panasonic and Sony... even though I have been recently intrigued by images I have seen from the A7ii. Unfortunately, that doesn't leave me with a lot of options if I decide 4K is a necessity for a casual camera. As of now it is down to the D7500 or the X-T20. By the end of the summer, Olympus will have announced the E-M10 Mk III and hopefully that will be similarly priced and they will make my decision a lot easier.

@Kisaha The main attraction in this video is the beautiful girl singing...Not gardens and flowers... What i mean with my post above, is that real content ( and not test footage ) will ALWAYS get more audience than "made for pixel criticism" videos. And that's the main point: whereever you are an artist without any financial interest, or an pro who makes a living out of his video work, nowadays you need an interested audience. And as already said, there will always be a vast audience for beautiful and informative landscape and travel videos ("Patagonia 4k"). Same for music videos with such a beautiful singer as in your video... Try to get 0,5 Million views for a video containing test footage from a XYZ camera - full of flowers, leafs, tree trunk, etc..No go...

Shooting 8k is not too much. 8k and beyond has/will become more and more necessary for movies that involve heavy visual effects. Being able to work with high resolution plates that have the headroom to allow re-positions and the overall detail boost for blue/green screen work is a huge advantage. When 8k live action is inter-cut with CG characters, the 8k footage (often down-scaled considerably) now matches the resolved detail that CG characters and environments can have (because they do not have to be 'captured' photographically). Traditional techniques of lightly degrading/softening the CG image to match the live action plates is becoming less of a thing when shooting higher resolution 'cleaner' live action elements. 8k is also a no-brainier when it comes to being an attractive acquisition format for archive purposes, it will have a longer shelf life in regards to being compatible with ever-evolving displays and projection systems whenever the 'negative' needs to be revisited. All of the above has a recent real-world example....Guardians of the Galaxy Vol. 2 Back in the day, Vista Vision format was often employed for effects shots that required optical compositing and many passes through the printer would cause generation loss. Once the larger format of Vista Vision optical composite was down-scaled and printed to 35mm, the grain was effectively reduced to a regular size (or smaller) and the generation loss of detail was no longer apparent since the reduction to 35mm was effectively returning full resolution to that smaller format. ILM were the most famous users of this technique and that is why they became the best in the business...providing the best quality optical composites for effects shots in films. Although we no longer have optical compositing generation loss to deal with, shooting larger format at 8k+ still has many of the advantages that these old optical tricks gave. The effect of reduction/downscale alone to a lower resolution gives a massive improvement to perceived sharpness, as well as huge reduction in noise - since any noise artifacts are literally shrunk. I remember when people were asking if upgrading to HD cameras was overkill...how quickly we forget. 4K down-scaled for HD/2K delivery works great, since compression and noise artifacts from footage is visually reduced, So 8k down-scaled to 4/2k projection makes particular sense in this regard. Consumer 4k cameras often have so much in-camera compression applied to get to that resolution, that the image suffers until down-scaled to HD anyway, which is why a solid HD camera with good picture and colour, often trumps a 4k camera, in terms of delivering a pleasing image. So, shooting cat videos in 8k at home might be too much (unless it is really cute) , but there is an increasing need out there for 8 -16k cameras out there for film production that require visual effect integration...last time I checked, that accounts for most Hollywood releases for the past 25-30 years.

i have holes in my sneakers but bought a super 16mm camera and 5 rolls of kodak..(cheap but not that cheap)

@Arikhan I don't disagree, I just said something else. Anyways, click farms are still going large. this is made by one of the production companies I work most, half a day shooting, couldn't even afford me for the day, a lot of gardens and flowers almost 27.000.000 views (which is amazing for Greece), so what?

You mean lock settings?? That is assignable

I've sold all my gear to purchase a C200.. except for my XT2. This camera is something special, I just love it. Grip is indispensable imo. Camera is really inconspicuous too, great for shooting video in sensitive locations or putting at ease subjects for interviews. Of course camera isn't perfect. Biggest gripe for me is absence of internal log. But overall the 4K image is just formidable and requires little to no post thanks to excellent white balance and colour science.. the kit lens with OIS is also great and on it 80% time for video. I've also started using my Nikon glass on XT2 using a cheap adapter..

Reaper http://www.reaper.fm/ best one hands down, or up, your choice

I want to share a short script I wrote in python that does focus ramping time lapses for Panasonic cameras. I believe this is doable in magic lantern for Canon users but I've yet to see an implementation for Panasonic. Here is a short technical preview: Here is the python script I used to make this focus rack timelapse: https://github.com/lippyt/lumixlib/blob/master/focuslapse.py I'm sure that there are much more creative uses especially for shots with the majority of objects in the near-medium range.

It does not. The contacts do seem to pass data.

A6300 cooling fan.(Also very handy to trim those little hairs coming out your nostrils)

But your average set day costs in excess of six figures. That's nice when someone else is paying for it (in that case, bring the Alexa). When you don't have those luxuries, it's better to work around them than to buy them out of pocket. I wouldn't have that much fun or feel that much freedom if I knew my shoot were costing me a year's pay. And without those luxuries (which are far more expensive to hire than the cost difference between an Alexa and a t2i), a smaller camera ends up delivering a better result 9/10 times. But you're right, there are incredible advantages to being a pro DP and it's a great job and something to be very proud to be. I was kidding about the "being a pro sucks" rant. Of course it's great! It's just that it has its trade offs, and for us amateurs, we'd do better using amateur gear. 1) because it's cheaper to buy 2) because it's much cheaper to use. And the image quality is, as you say, only about 10% better. Most pro DPs aren't lugging an Alexa around to shoot pick ups, either. Most aspiring pros would do better to follow their example. I say this as someone who's tried running around with an Alexa a few times before lol. It's no fun!

Bit of a mixed bag thus far with the RX1005 Can't say I'm really bonding with it yet to be honest. I probably need to study it a bit harder but its all a bit fiddly. Have mainly been just been goofing around with the slo mo on this little holiday video wise but did a few stills today and its not bad considering its size and meets the expectation I had of it for taking a few snaps while away. What was more interesting for me was happening upon a poltical rally so I thought I'd see if it was of use for that kind of similar in close stuff that I often have to do when theres a bit of 'heated debates' going on between rival fans outside football stadiums. With the high fps and it being really compact it actually worked quite well in that role to be fair so it might - literally - see some action for me for real work in situations where having the content trumps having the image quality.

On the other hand, films like Kendy's get made and have the style they do and the energy they do in part because of the flexibility a small camera/minimal crew. IQ isn't a big deal to most lay viewers. As long as the sound is decent, the image doesn't have to be pristine. Anyway, it's all just tools. Pick the ones that gets you where you want to go. Some people WANT to move to "Video Village" and build a career there, others would rather run free with a GH1 and a single prime lens. There's no right or wrong answer.

Yes, I did ;-)

Geez they must have Broken the saturation slider for green in grade.... its glowing like my green highlighter pen....

Last I checked, the website still has the details of that codec listed as TBA, so hopefully Canon will get feedback requesting that it be 10bit and they will fold. Probably not though. I can't afford to buy the camera, but I am very interested in renting one next summer for a short film. I would shoot it entirely in Raw so that mid grade codec really means nothing to me. But for others, I hope it's available!!!

Where is the 8K? Skimming through it I don't see much content that goes above 4K, and the few that does seem to be exclusively timelapse. The oversaturated greens and overall horrible colors did at lease give me a horrible viewing experience. And did you notice the resolution of that train shot thrown in the first time? If not then there is probably a point that got proven or lesson learned.

I say they aren't mutually exclusive. After years of using mutliple camera setups which were an A+ in certain area, and a D in others, I finally found one that is an A all around (for me). Of course it depends on what you're creating, but I think the UM46K is the most complete creative tool that "gets outta the way" and let's me focus on what I'm shooting. It's not tiny like a mirrorless camera or DSLR but it's still small enough to hold in one hand. No need for external recorders or monitors. Quick touch screen controls that are a breeze. I can go from 24p to 60p with a single press of a button on the monitor. Same with RAW. If I need to shoot RAW on a single shot...press a single button.

And how about ursa mini 4.6k as a POV camera? I tried it with sigma 8-16 and made this short test

180fps is 180fps. To title it 360fps is nonsense

I think only VR stands to benefit from 8K. Cinema doesn't need it. However, in 10 years we might all be strapped into our VR headsets for watching movies... Even at the cinema! I'm very impressed with how immersive VR is when done right. It is here to stay, unlike 3D. But watching 8K on a flat screen from a distance is pointless... Human eye just isn't up to it.

Nice vids from the archive! I'm the same, I don't like rigging up my cameras. I want them as bare bones a possible. Some of the FS5/7Q rigs I've seen are like houses, not my kettle of fish. Yes, I have an Inferno but I can't find an ergonomic way of mounting it on the camera. So I just run it off the SDI and let the other guy hold it for monitoring. Recently, I shot a music video on the A6500 with this criteria, to see what would happen: Completely handheld. Only A6500, 18-105mm gear used. No lights, No grip. Nothing. Autofocus only. Mostly 4k, and some 100fps. At the time, I had an FS5 in the bag too with a bunch of Sigma lenses. Didn't use them. A6500's dim screen and rolling shutter was annoying, but I got round it.

C200 can't do XAVCS, as it is a Canon camera! C200 is a very weird beast at the moment, that can do raw *or* a very low end codec. With absolutely no middle ground in between!

You've done it now mentioning the B word haven't you? I've only just finished reading that C200 thread

Dear folks, I have been stealthily snooping around and making grateful use of your experiments and knowledge exchange. Thought I'd pay it back with a little test: Cinelike D. Settings: 0, -5, -5, -3. GX80 had a Olympus 12mm, and the G80 a 17mm, for the rest settings are all the same. Hope it's worth your while. Jpg 1 is G80, 2 is GX80.

For anyone looking for a cheap 4K travel camera with a 30x zoom (!) that can have cinelike d then I can confirm that it can indeed be done for the Panasonic TZ80 And if you are travelling through Stansted airport then if you go to the Dixons tax free shop then ask to buy the demo one as I've just been there and left it already enabled on C3 for you

35-NAP 2-2 | Helios 44-2 F:2-16 | Sony A6300

Different modifications of old soviet anamorphic projector lenses: Belarusian Optical and Mechanical Association (BelOMA) (former - Minsk Mechanical Works named after S.I. Vavilov (MMW) 35-NAP-2-3, 35-NAP-2-3M Rogachev plant "Diaprojector"… 35-NAP-2-3M Leningrad Optical and Mechanical Association named after V. I. Lenin (JSC LOMO) 35NAP2-2, 35NAP2-4 Novosibirsk Instrument-Making Plant, Lenkinap 35-NAP-1-1

More correct test single focus for 35NAP family

Early test single focus for 35NAP family. (35NAP 2-2 | Helios 44-2 F:2 | Sony A6300) At the moment, there was a test of possibility of a single focus on these large lenses. The test is done on small lenses, large diameter lenses will be manufactured. Sorry for jitter, pic of DIY body for single below And question, my friends - how do you think, you need a single focus for 35NAP family, these large lenses?

Many asked about how I focus. You are welcome! In this way I get maximum possible focus

2M - this is not in real life. 35NAP family - 2-2, 2-3, 2-4, 2-3M. 2-3, 2-3M bigger and heavier than 2-2, 2-4. Optic scheme the same, image look similar. 2-2, 2-4 looks a little sharper, but if good aligned lenses, all will be good. minimum focus distance, if not modded - 8-10 m. If modded, starts from 35-40 cm, but I recommend to shoot from 1m. to close focus - little squeeze. Also present 35NAP 1-1, but I didn't come across.