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Schneider ES Cinelux 2x (Custom single focus) | Carl Zeiss Jena Pancolar 50mm F:1.8 | Sony a6300 Some shots with varyND. Early test, needed to learh how to achieve best result with this setup DIY-body... and few stills at Helios 44-2 F:2 and... ...Carl Zeiss Jena Pancolar 50mm F:1.8

You can also rent self-propelled sound blankets

Heres a few lenses tested in stills mode - The Sony Zeiss 55 1.8 is sharp as - where as the Minolta MC 58 1.2 is loose and funky as hell. I need to get the Novoflex Minolta adaptor to iron out some of the issues - most of the funk lies at 1.2 - stopping it down reduces the life out of it - I think at F2 a happy medium can be struck although you loose those blacks which have that nice veiling flare.

It's been a while since I've seen such brilliant acting associated with the BBC.

Thanks for the great replies guys. The Soviet way prevailed.

Tons of great info here, thank you all! I haven't used the Zoom F4/F8 but I have a Tascam DR701D, and the Tascam is WAAAAAAY better than my Zoom H5. I'm not a pro sound recordist or anything but it's immediately obvious the difference in quality. Obviously it's quite a bit more expensive, but it's one of the few times where you can genuinely get double the quality for double the price.

BBC Earth director being hanging out with animals too long lolol

Just shot an ad for a bank using the GH5 and SLR 2x anamorphic 50mm prime. This is pretty much my go-to combo right now outside of the Ursa + Sigma Cines.

This sounds rather unlikely. You already said that the copy to library option was checked, but just to rule out one thing, choose the library and just import another clip. Does it say copy to library or copy to (i.e.) manueldomes media drive ??? You could have had the copy to library option checked in preferences, but this can be overridden in the library's inspector settings (>modify >storage locations >media). If you read copy to library and if the library settings say in library, then this is a mystery and a mess, and you have every reason to be concerned. Then this probably is a very rare accident, I've never heard of this before. You should better post your request on http://www.fcp.co/forum/4-final-cut-pro-x-fcpx ... where you will get help. EDIT: hold down alt + cmd when you launch FCP X (trash preferences). This sometimes helps.

Only thing I can find is this: https://github.com/ge0rg/samsung-nx-hacks The NX3000 is apparently really hard to hack to begin with, and the service menu is locked away from what I read about it, what a shame really even the NX1000 you could access the service menu.

wow good job Dr lovely shots and nice mod !!!!

The blacks are not crushed actually ?

The monitor you are pointing the camera at cannot be used to set the white balance, because it sends out a bunch of blue wavelength LED light from the backlight. You need to set the white balance off real subjects. Use various situations like direct sunlight, cloudy weather, shade and indoor light at various positions in a room to get the desired white balances. Or just use the Kelvin preset and dial in the K you need for a particular scene. If you prefer, just use AWB instead.

Thanks for the comments. Taking lens is 50mm 2.8 russian macro lens. Really love that lens. Volna-9 is the lens. Really nice flares, bokeh, colors. Everything is just something that I really like on this lens. It has also special aperture charracter between f5.6-f8, it's star shape. PS. Still late with the realease. Video has been ready for almost a month now... Still waiting the band to officially release the video.

I am pretty sure Duclos no longer service Lomo lenses (parts difficult to get & quoting on repair time and cost difficult).Here is a quote from Matthew Duclos back in 2009 when they were servicing them "Lomo lenses range quite a bit in age and style. Most of them being acquired were built in the 70's and a few from the 80's. This makes them nice and cheap and many people are taking advantage of that (good for you). But that doesn't change the cost of labor when servicing the lenses. Rob was right, it is costly to service Lomos. This is mostly due to their poor build quality. While servicing, the set screws tend to break off and require even more time to remove. Many of the components inside the Lomo lenses are hand made (not in a good way) and don't always fit correctly. Don't get me wrong, they are great lenses. But they are very costly to maintain. I'll give you an example... I just serviced a Zeiss 35mm MkIII Super Speed and billed the customer for 4 hour. I also recently serviced a Lomo anamorphic that we billed the customer 8 hours. So... my point is, they are cheap to buy, but costly to maintain. And they do produce nice images ;)"

thanks for pointing me to an external recorder. I have to add that I do video just on an enthusiast base, I am no pro - at least not yet, I am still at the beginning of learning (coming from many years doing photography only). Equipment is rather low here at start: 2 x G81, 2 x external micro Rode Videomicro, fast SDCards, and other accessories. So I wanted to keep it simple and cheap. But on the other hand I wanted 4K-video (abililty to zoom in post or grab frames), so I opted for the G81. An external recorder like Ninja Blade is only 2K, Ninja Flame is 4K but starting at 800€. This would lead to GH5 region price wise. And I would love to have an all in one package. Conclusion so far for me and my shooting: must get along with the recording limit somehow. Other's requirements may differ

I've been using an A6500 + Zhyuin Crane + mostly the Sigma 30 1.4. Just watch the RS and the image is great.

Before it took like 10-20 seconds for the roll axis to stabilize after panning right, now it is more like 1-2 seconds.

The blacks are crushed!!! The blacks are crushed!!! Joking...Really nice image Aaron! Keep us up to date, now im curious to see the final result.

With c mount lenses 25mm is usually pushing it in terms of vignetting in full m43, but with the extra crop in 4k on the G7, GH4 etc it covers. I actually have an 18-108 Fuji c mount zoom that barely vignettes at 18mm. Here's a video example:

Also, "active busy restaurants" have enough bodies, coats and other stuff to cut reflections anyway! Human bodies are very good to kill sound and light waves. Not radiation so much! CS3e is a special mic anyway. Sound blankets are a good tool to help a bit.

If you want to go that route, Tokina has been sporting a versatile line-up as well; people have been combining 'em with Panasonics since the GH2 (it used to be one of the few ways to go really wide, mounting the 11-16mm f/2.8 on a focal reducer... nice for glidecam schtuff). Before the Sigma 18-35mm f/1.8, that Tokina 11-16mm f/2.8 was the go-to combo (and has become a Cinema ATX option as well: http://www.tokinacinema.com/11-16mmT3.html , $999 on B&H now). Quick overview of bright APS-C zooms in Canon mount: https://geizhals.eu/?cmp=1375683&cmp=1235276&cmp=934581&cmp=814123&cmp=511048&cmp=459597&cmp=219029&cmp=189159 . The Tamron f/2.8 zooms used to always be the go-to choice for T2i/550D shooters. The Sigma of course indeed sounds practical, with its optical stabilization and affordability.

I'm narrowing down my choices for a 2nd camera. Right now, it's between two cameras... e-m5 Mark ii or the A7ii. I have decided I definitely want some form of IBIS and I have really enjoyed the humble images coming from both of these cameras. The second cam will be used for casual, family videos and the occasional micro short film and these two cameras seem like capable underdogs and that intrigues me a lot. So, although I already have too many lenses, I am thinking of different lens alternatives I've never considered. I've never owned an SLR Magic lens but I've seen some great stuff shot with them. 17mm on Micro 4/3 is a nice street shooter focal length, but BH has it listed for BMPCC and states it may not work with other Micro 4/3 cameras. Last year I had the 25mm Voigtlander and it was one of the nicest lenses I've ever used, so I'd love to get the 17.5mm Voigtlander but I really cannot justify the $800 price tag. Of course I tend to watch a lot of videos and muse over different cameras on Sunday afternoons, so my choices may change completely in a few days or weeks... or even a few hours. Lol.

Love it so far. Maybe just make the right side a bit dark, then it would be perfect.

Looks good... that guy really likes his sweaters.

It is basically some additional setup that can be done when the camera is sent in for repair. The primary useful function for end users is for PAL users to get the additional frame rates by changing the region code. As far as I understood, the Australian version of the GX80 did not have the record time limit but there doesn't seem to be a way to get to setting up a European GX80 for example to be Australian from the region change so the best you can achieve from using the service mode (and its not a bad trick) is to get the extra frame rates. There are also some additional diagnostic functions for errors which may be useful if you're suffering from card errors and want to determine yourself if its the cards or the camera before you send it in for repair. It also lets you save and load ROM stuff but that is for saving and restoring user settings prior to and post repair as far as I can tell. Here is the GX80 service manual if you want to explore it yourself. All the Lumix cameras have the same service mode so its applicable for everyone https://www.apotelyt.com/doc-pdf/panasonic-gx85-service-manual.pdf

I can confirm that EC is the Spanish G80. Probably @BTM_Pix is the one who can explain what the "service mode" does.

Yeah, unfortunately and probably stupidly, I will go for smaller and discrete every day of the week over large and cumbersome, but I am shooting literal no budget films, where I don't have a sound guy. It needs to be simple and small, something I can attach to an L-Bracket with a small shotgun but can also do double duty as a pocket recorder for a lav. I started with an H1, but found it to be poorly built and not really that small, so I ended up with 2 Olympus LS7 field recorders. I'm sure they aren't the best but for what I need they work pretty well and the onboard mic is actually pretty good for foley and ambient sound... probably because they are marketed towards nature recordings. I am interested in the Tascam 10L recorders... they seems to be a great size with decent specs... how are they rated on the Ironfilm scale? But this is a great article and something to think about as I grow equipment... thanks for posting it.

Not all PL lenses can be adapted to EF from what I saw on th web :s But EF is more convenient for sure !

Thanks @BTM_Pix! I now have CineLike D on my GX85! Would it be possible to unlock or add the ability to shoot in the 4:3 aspect ratio in 24p 4K? The camera only allows 16:9. I can shoot video in 4:3 using the 4K Burst (S/S) mode, but that's 30p. I'd like to use my 2X anamorphic attachment using the 4:3 aspect ratio.

There are two ways to do this. The NASA spending millions on a pen to write in space approach or the Soviet using a pencil approach. (Yes,yes, I know thats turned out to be an apocryphal story but I like it anyway ) The NASA way would involve copying and renaming files (there is a catalogue file hidden away in a Panasonic folder on the SD card) and using a hex editor to append chunks from a genuine file and trick it into thinking it came from a Panasonic camera. I've just spent some time doing this and managed to change the error but not much else so you'd need to dig a lot further in. Another NASA approach would be to use a tracker in your NLE to graft the video onto the GH5 screen. The Soviet way would be to play the file you want on an iPad or some other screen and just film it with the GH5. No hacking, no plugins, no rendering. Its up to you but I know which route I'd choose, tovarich.

I can answer... but it's actually the same as asking 'how old are you' ...you mostly do not ask that ;-) But, here we go; my setup, the Bolex 16/32 1.100 dollar (yes it can!), the HCDNA, 900 dollar, rig 250 dollar, Ultron 40mm 350 dollar. I had a Iscorama 36 and sold him. This setup is huge and weight a lot more, but the quality IMHO is much better than the Iscorama. And at least, I don't sell my Bolex ever again.

I also can confirm that the quality of the HCDNA is superior. But, you need good lenses too. The Bolex 16/32 is a high end piece of glass and also the taking lens takes part of the quality of the film. The HCDNA is well build, easy to focus, build as .... and weight like a tank ;-)

@funkyou86 I use the Rectilux HCDNA, can not recommend it enough! It has lived on my Bolex since day 1 and will probably never come of. Real good engineering, feels like and behaves like a tank - not a fragile peace of glass

A little film from my latest trip to the home-place of my girlfriend, the Lofoten Islands. Brought along the 5D Mk3, Bolex 16/32 + HCDNA and two new little gems: The Helios 44-2 Silver, which I have to say I did not become too fond of coming from the 44M. Might have just been an unfortunate sample, but way softer than my 44M as well as a blue-ish tint. And the Jupiter 9 Silver, which I absolutely loved. Nicest colours of my assortment, not to mention impressive sharpness wide open (read a lot of hate on that part on-line). Shot in 1748x 618 (or something) stretched to 2160x778

There is a curious paradox that you're experiencing there regarding acceptance of more overt activity that you would think would put people more on their guard but its often the exact opposite. Its a phenomenon that I experience a lot when shooting flavour stuff outside stadiums of spectators before kick off. My preferred way of doing it is using small mirrorless cameras as I can't stand people who ham it up when they see a chance to get in a newspaper and I much prefer candid shots. It has to be said though that people are far more on their guard if they see you pointing a small camera in their general direction as they think you are up to something furtive. This is also very much the case with security services who are now unfortunately part and parcel of major sporting events because of terrorism. So whilst we all want to strip everything down and not make a song and dance of our presence, it actually often pays to be less discrete as people just accept you must be doing something legit and authorised if you're wielding big stuff. Its counter intuitive to say the least but its definitely a thing. See also 'furry mic syndrome' where wielding a large Rycote encased microphone on a boompole is like some sort of magic wand that grants de facto filming permission in most public places

I couldn't disagree much more strongly. That kind of rigging is taking away everything good about a dSLR and adding nothing but headaches. The only exposure aid I need is my 758 cine (heck, with zebras I don't even need the spot meter) and the only sound I would use from an on-camera mic would be for syncing dual system sound. Even with the best pre-amps in the world, your mic is still in the wrong place if it's on-camera. I can see the handle or a small cage being useful for balance, or maybe a loupe in daylight being helpful, but beyond that I don't see the point. That said, not everyone agrees with me! If it works for you it works for you. As I mentioned before, s union AC I worked with did the same thing with a C300 when shooting a super bowl ad, rigging it out like crazy... and it is not designed to be rigged out. I asked what the point was when the ergonomics are great (for me) out of the box, but apparently the operator wanted a large 435-like form factor as it was what he was used to, having a film background. He wanted the thing to weigh 50 pounds. But for me the smallest rig is the best one. If I wanted to weigh it down I'd tape a barbell to it. I do often get asked to use a matte box or something so clients and insecure actors will feel like the small camera is a real "cinema camera" but nothing makes me more irritated than this request. "Is that a real camera? Yes, are you a real actor? If so it'll show in your performance. If it's a real camera it'll show in the footage." But when I get that request it doesn't even reflect on the camera it reflects on me. If you think you know more about my job than I do, you've already lost confidence in me just by asking for a larger camera. Project your insecurities elsewhere. I'm doing my job well, worry about doing the same. Ugg... actors. So insecure it even wipes off on camera department. I'm not saying I complete disagree, though. The Black Magic cameras, for instance, have such poor ergonomics that they need to be rigged up. Just offering a dissenting opinion. Each will have his or her own preferences. (And for mirrorless still cameras like the GH5 and A7S I do think the ergonomics are so poor that they often benefit from having a small cage and an HDMI clamp, but beyond that I don't see the point.)

I don't see anything which can't be done with a GH5 or even 4 (external V-Log) in these clips tbh. Crushed blacks are almost standard in every movie since the beginning of cinema and honestly - I like it. The Highlightrolloff in the third clip isn't that great, her skins turns yellow in some scenes with direct sunlight.

screen grab from a sequence I shot last week (last airbender fan film), it will have quite a bit of vfx once finished

And, beautifully, 1080p is perfect 1080p resolution, even seemingly better than C100/300 and it keeps that quality up to 60p, with some detoriation up to 75fps and from thereon going downhill until 180fps. Would have been awesome to have pixel perfect HD up to 120 or 100 fps.

I just like a camera to get out of the way. For me, the best one so far has been the C100 (Mark 1 or 2) - Doesn't need a cage. You can hand hold it easily without micro jitters. Great image. Super useful built in ND filters. (I really dislike external ones, I do find them too time consuming for my liking, and it's an extra thing you need to deal with. Heck, I don't even like changing lenses that much.) A 17-55 with a 70 - 200 is a great combo. I can handle run and gun and interviews without issue. Only drawback for me was the codec. It's fine for Web, but not for TV. I shot 13 episodes with a ninja connected, which I also disliked. The magic arm kept getting in the way or falling out of place. I don't shoot it anymore because I like 4k, but don't have a great replacement at the moment. Didn't like the C300 as much because it's bigger/heavier than I like. Same with Mark 2.

Not sure where you get the idea that weddingshooters prefer higher-end pro camera's, most are switching to a sony a7sII/a6500 set up and some do use a fs5 but mainly for longer recordings, the gh5 is also gaining popularity among the weddingshooter community and the canon 5dIII is also still widely used, the 5d4 is less popular. The canon 1dc is also still used by some high end weddingvideographers. The c100 is also a very popular camera but the c200 is not because of it's high pricepoint. From all these mentioned camera's the sony a7sII is by far the most popular one so to say that weddingvideographers only prefer the higher-end pro camera's is just not true, maybe for a few individuals but certainly not for the entire weddingcommunity. I know because I"m in a weddingvideographer facebookgroup that has over 13000 members and all the big names in the weddingindustry are member there as well so you get a pretty good idea what gear is used in general.

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.

Has anyone actually ever said production cameras are more creative? They are just better for production. Though NDs, better handling and better audio can be very creative features. If I'm climbing a glacier... Then carrying up all the shit needed for a production camera is gonna hinder me.. (c300 is about as big as I'd want to go) Horses for courses... As ever

People can't be creative while they're working? Or efficient when they're not? Wedding and event shooters aspire to pro cams because they're sick of fiddling with NDs and tiny batteries and rolling shutter and too-big or too-small codecs. The time lost dicking around with these things doesn't make anyone more creative, it only endangers their paycheck/career, AND loses them creative opportunities. There are plenty of subjects and shooting styles that lend themselves perfectly to photo cams and their slower, fiddlier workflow... and there are plenty that don't, even past weddings and events. And this is a separate issue from creativity and freedom vs. efficiency and appearances. Someone can be completely creative whilst shooting fast-paced or high-pressure situations- at least they can if they have the time to. I do definitely agree that the IQ gap is so much smaller nowadays that this is a much blurrier argument than it was a few years ago. A7sII, GH5, etc vs. FS5/7, C200, etc is certainly a smaller gap than 7D vs. C300, or whatever other matchup from 4-10 years ago. Smaller price gap too. The lack of IBIS in pro bodies is also definitely adding to the blur.