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I've been asked via PM regarding is it possible to use a pistol grip with the MOVO foldable rig so thought it better to share the answer here in case anyone else needs it. The answer is yes, you can use one such as this cheapie from Amazon and screw it into the mounting plate either fore or aft of the camera. As the MOVO also has mounting points on all of its arms you could side mount it with any number of adapters if you'd prefer it on either side of the camera. Once its on you can then do the usual shaping stuff with the MOVO to use it as a shoulder mount or top handle as shown in the inset pic. Handle I'm using is this one here https://www.amazon.co.uk/Neewer-Handheld-Stabilizer-Panasonic-Samsung/dp/B018LQEFL4/ref=sr_1_1?s=electronics&ie=UTF8&qid=1501604216&sr=1-1&keywords=Neewer+Camera+Handle+Pistol+Grip

Ive always been very happy with the Edelkrone. Can just leave it permanently on the tripod. And like all their products its a solid build.

I would like to buy and use a drone for a Sony A6500 / A7R ii / A7S ii. So the drone should have a total payload of about 1,5kg (camera + lens). It should have FPV and - if possible - remote control for the mounted camera. 3-axis gimbal is also required. Budget is max. 5.000 Euro (for ready to fly drone only). Are here people experienced with this? Any recommendation for companies / experienced people for such a built? Thank you!

I decided to shoot a short sequel to my GH4 VLog video "Chicago." Recorded internal at 8 bit on the GH5. Handheld with IBIS. V Log L.

I've just picked one of these up and its a pretty nifty little thing. Basically its a series of locking bars that you can easily change to be anything from a selfie stick for Vlogging to a top handle to a shoulder mount or even a poor man's low mode stabiliser. As the joints lock in any angle its really flexible in being able to be shaped to what you need it for. Its really useful in the shoulder mount mode actually because you can make the angle of the piece that runs over your shoulder to be really tight so it hooks in firmly. Each piece also has 3 mounting holes so you can attach handles, mics, lights, monitors, cup holders or whatever else rig enthusiasts like to cram on there if thats your thing. Its light, versatile, folds down small enough to fit in a coat pocket and at £38 its not exactly going to break the bank. With something with IBIS like the GX80 I've got it with here, it gives some great additional stabilisation advantage and still keeps you stealth. https://www.amazon.co.uk/d/Camera-Photo/Movo-SV1000-Aluminum-Combination-Stabilizer/B012Y7UVB4/ref=sr_1_19?ie=UTF8&qid=1498822792&sr=8-19-spons&keywords=movo&psc=1

New: the D850 LCD will have twice the resolution of the D810 New: slo-mo full HD 120fps video New: the SD slot will support UHS-II New: improved LiveView split-screen display New: improved silent shooting mode New: improved battery life New: lighter than the D810 Read more: https://nikonrumors.com/2017/08/01/additional-nikon-d850-specifications.aspx/#ixzz4oXaQLgFn

Did not liked the kind of colors of EosHD Pro Color (only taste, I think is a great work from Andrew), at least in first sight. In general, yes, Panny's AWB is very good, but I think that use manual WB is feasible at least in daylight - set it in the street with the sunlight, and set it again if go indoors. At night, yeah, probably use autoWB could be a good idea. I generally protect the highlights - only way to recover it, shadows are more flexible, albeit noisier. My GX85 is an american model, don't remember if it has 25p/50p framerates...hope so, because of the light flickering. Did you tested Twixtor in 4k, or is an info that you have? And the last point - already a priority. In fact, will (I hope) do a lot of preparation just to avoid to mount a tripod, change lenses between stills / video...the trip have priority. Thanks, @jonpais. Will take a look. Since i will probably render the final output in 1080, I guess that I could get some gains in noise. What do you use if you need some noise reduction (Neat Video or similar)? Have you ever tried to use Cinelike-D at ISO 1600? (I will use the primes at night to try to avoid it). The question about the color card is exactly for the hipotesis of having to use another profile - it could be used for some kind of color matching? I know that for stills you have tools to help it.

The author of that discussion certainly wants to be taken seriously. But, no, it's a joke and he's incompetent. The main reason modern primes have more elements than older lenses is the switch from digital to film. He's too bloody ignorant to know this and too stupid to any research, but film accepts light from any angle whereas the thick filter - often 4mm deep - in front of a sensor means that it only sees light travelling parallel to the lens access - because the filter consists of long narrow tunnels like a lighting grid. This change in requirements adds a lot of extra elements, especially to fast lenses. If you don't have these elements then, with a digital sensor, contrast goes down, not up as Mr Stupid thinks. (This is why people who want to shoot vintage wide angles have the filters on A7's thinned, even though it reduces performance in other ways.) It would be one thing the silly man actually addressed the above and disagreed - but he's too ignorant to even know the basics of subject he's ranting about. This is example of http://rationalwiki.org/wiki/Dunning-Kruger_effect ..Which, yes, was discovered by the character from Archer. (True story: I look enough like Trotsky that people can't tell us apart except from the nose. And he's dead. And the friend I sat next to during my masters degree turned out to look just like Hitler - only no one noticed until he put a piece of black tape on his upper lip. Which won't make seem relevant unless you watch Archer, but there you go.)

Not everybody has Tour De France money... I've gotta separate my needs from my wants. But I will need this in about a month. Do you have one and if so, does it have longevity? It seems like a cool product that may break after a couple uses?

Don't be ridiculous man. Everyone needs one of these. Without delay !

Thanks for this, this is cool as shit. Not exactly what I need now, but I will definitely be buying one in the near future.

I think you want a blog to post on, not a forum. Still good luck though

The same vintage lens price varies on whether the lens has an all-black finish or black and silver. So no. They're really nice lenses but won't give me the FLs I want. The East German Pentacons are nice too, but there's the same problem. I need - well, want - at least a 28mm equivalent - and 24mm would be better. This might sound fussy, but that's stills people for you...This how I think of a wide: A 28mm is for doing shots like this ..A 50mm with the same amount of subject would have had a tighter background without the strong diagonals and the subject wouldn't have had the distorted nose etc that cues a viewer that she is inside personal space. This shot is a Moriyama. Winogrand was another great 28mm shooter.

Tip #1: Be grateful to anyone who gives you their time and advice. People help you get somewhere in this industry, not gear or good technique.

Won't fool an expert unless you pretend the camera has broken down after a couple of hours.... Ok: name one of those analysts...

https://www.theguardian.com/culture/2017/aug/01/how-we-made-full-metal-jacket-stanley-kubrick-matthew-modine

Try Natural profile and manual White Balance on both cameras. Not identical but nearest images (at less what i'm doing with G85 & GH4).

Thanks for the info @SigurdW - It might be worth me having a look at the pancake lens - I dont think it would be any harder to focus with than the Contax Zeiss 45. - as that focus ring is tiny. I'm sorting out all these lens tests - so I know whats good for stills (my career) - Sharp and fast and then for motion which can afford to be more poetic and with a little more give in terms of requirements. I did notice that in some ways the Nikon 100 was sharp etc but it still needed due care and consideration as at 2.8 and inifinity on the anamorphot - it still wasnt infinity on the taking lens - which caused some soft issues........ flares were good - although I was too late for them at the sunrise. And yes Sigur Ros...... i think the guy went on to do Rice Boy........ both lovely music !

Hi. A while coming but here's some 4K UHD files for download and a bit of a shoot with the new APO Cine primes in MFT mount. There's also some UHD Vimeo clips too. https://johnbrawley.wordpress.com/2017/07/31/olympus-does-4k/ JB

If anyone does want to work on their blocking ability, I recommend Akira Kurosawa's work - it gave us Seven Samurai and Stray Dog, so you can't deny it has scope.. It seems with your approach in dealing with this topic and its arguments, you have named your best personal advises yourself by drawing conclusions from the flaws you see in the arguments of others. How long have you been following posts of this forum? Have you been an EOSHD member before? I am asking, because your approach to challenge ideas and communication seems unique to me.

I still use the pistol grip I got with my Krasnogorsk K-3 Camera. Love it !

Hullo everyone, I just wanna let people here know about a new MLV processing/correcting/grading app I'm developing - It's called 'MLV App'... unless I come bother to come up with a better name. Here's how it looks: The goal is to make a cross platform app for converting MLV files to ProRes/h.264/whatever you want. This is a plug, but I'm not making any money, as it is an opensource, free software, and free app... I'm just announcing it so maybe I can get more people to contribute - both testing/feedback and help with code is valuable. Here's the Magic Lantern forum discussion: http://www.magiclantern.fm/forum/index.php?topic=20025.0 Here's the source code on GitHub: https://github.com/ilia3101/MLV-App Downloads are here: https://github.com/ilia3101/MLV-App/releases Theres a 'Cocoa' version and a 'Qt' version, the Cocoa version has a GUI built natively for macOS, and the Qt version works on Mac and Windows, and soon Linux (some errors compiling right now) - both versions have the same exact MLV processing and reading code, just the user interface is built differently. Here's a demo video that shows how the processed images look: (Note: the video was created with an older version of the app) It's a pretty basic app right now, but I think the processed images look nice. It supports 10/12/14 bit RAW video, however I have not yet implemented compressed RAW, that's coming as soon as possible. (I'm the one who made the RAW calculator at the start of this topic btw) Enjoy

$23,100,000 on sale limited stock, film your own moon landing movie just add sand and front projection ??‍?? https://www.premiumbeat.com/blog/10-incredible-camera-lenses/

Get the Oly versions. I thought a lot about it and I've decided to get the 17 1.8 the 45 1.8 and the 25 1.8. For the Zooms Oly has a better range with the 12-40 and the 40-150. Being not stabilized means not paying for the 35-100 II defects with the IBIS. You have better control on manual focus with real rings. The GH5, being contrast detect, it's autofocus won't make a -real- big difference against natives with DFD, especially not in video anyway, as we already know and little in photo. Oly is developing too a 17 1.2 and looks like a 45 1.2 to complete the set and they'll probably too have the manual clutch. I don't find paying for PanaLeica lenses worth it until they add phase detect and no news on a 17 1.2 too. So, with the Olys you get native m43, manual clutch for video and a normal response in photo for a contrast autofocus. 1.8 are cheap. 2.8 zooms are manual "clutchable" too with better range, no issues with dual IS and, most importantly, you will always make cringe the OCDs anals who have to have everything Leica with the Pana. Sorry for my engrish today, too much work, heat, beer and Slovak got mixed.

In that case I would say get the GH2...and sign up with personal view...all the patches and how to's are available in their search section...just don't ask questions there??...the patches are effortless to change, as with each PTools Patch, the camera thinks it's upgrading FW...buy yourself a few 8Gig transcend cards...they are cheap, and load only 1 hack per card...a 2nd battery is recommended, as if you want to change hacks in the field, the FW will only "upgrade" with a charged battery...lastly, I think you'll love the camera...it's a simple and solid little brute...and it sings with the SLRMagic lenses!!

What are you smoking, BSI would not add a full stop. It hasn't come close in any other application, not 1", not APS-c and certainly not FF. No currently available sensor tech is capable of adding a full stop to any sensor size. Personally I've found the battery life to be good with the new batteries, but I'm comparing it to the Sony A7's which are much, much worse. As far as lenses, the kit is ok, the 2.8 zooms are much better. For primes I prefer the faster lenses to keep ISO's down.

The FD is undoubtedly a nice lens. But I'm lazy. And who wouldn't want to buy a lens called an Ultron??? (That's the Rollei version, I think.) Well, yes - a lens that old has to be cheap by now... NASA will probably pay me to take one off their hands.

I've recently started applying to freelance Director of Photography jobs, but one thought has been nagging me: do people take you less seriously if all you have is a cheap DSLR or Mirrorless camera? I feel like my reel, which is all BMPCC, Sony a6300 and even some T2i, should speak for itself, but a lot of jobs I see posted on Mandy and elsewhere demand Red, or Alexa (I never even see a mention of Blackmagic). I think these are producers or directors who are hiring a DP because they don't own equipment, and possibly don't know anything about cameras other than Red and Arri because they're "the industry standard". I understand some people just want "the best" and so they look to what Hollywood and Indywood are using. I understand why they would want to use the big fancy expensive cinema cameras. I know I can get great results with any camera I use--I've proven that to myself with all of this buying, trying and selling cameras I've done for the past year+, but I wonder if I could just be disregarded entirely when I say I have what are basically cheap mid-range cameras. To any DPs here working on narrative films, have you ever been passed up for not owning a Red or some sort of expensive fucking camera? Or do you get work based on the strength of your reel and convince the producers or whomever to shoot on whatever you want because you're the DP and you're in charge of that department? Do you have to have the strong reel AND the expensive equipment? Do you feel like the fancy camera opens more doors? Or is it just as competitive no matter what you own and how good your reel is?

@lucabutera Are you still working on an electronic version? You might consider crowd-funding that one too as I'm sure there would be a lot of interest! The Aputure DEC modded one was pretty cool to see (although it looks like it rules out using the NX1 Battery Grip). A full-on electronic one connected to the camera body with AF functionality would be awesome, and would instantly make the NX1 a top-class full-frame camera.

arriscope are movie lens iscorama is not arriflex and zeiss where pretty crap at anamorphics for years zeiss used moller for making anamorphic projection optics arrii used a famous super talented designer from denmark jan jacobson for ultrascope system using fast zeiss optics ultrascope where designed as movie optics later arri used a couple of folks from zeiss and isco for the arriscope arri is a massive rental house and maker of millions of metal parts plus thousands of cameras they had to work faster than say leica or zeiss. a movie might be starting in 6 months 10 months sometimes 3 months so they had to cut corners because of time issues isco understand bent glass many issues where engineering related but like the todays crummy iomo systems modern rebuilds can transform everything the arri isco glass is designed movie glass vintage used on many cinema releases iscorama maybe amazing and unmatched even today in the sub 10 thousand dollar realm but is was never designed as a proper movie lens. it was used on movies like the battle of britain for crash cams and aerial work but kowa 8z was used on crash cameras on many movies in the 1980s even movies like rambo where he takes on the russians. better blowing up a kowa than a panavision,jdc or technovision 40 thousand dollar optic. iscorama was not used or improved for movie productions because the movie industry is a tight nit thing probably isco did not think to bribe the correct rabbi in hollyweird at this stage panavision dominated arriscope ultascope have expensive 1.4 or 1.7 movie optics inside which are worth money alone. you could use a proskar on a movie today it would not make it a movie lens. iscorama is such an abused term now every turd is iscorama vintage anamorphics suffer from imperfect engineering assemblies and even more so, bad strip down and reassembly over the years arri isco and zeiss the weak link will be arri engineering instead of leaving that to moller or isco arri built assembled themselves. arri camera engineering is superb but you cannot rush without losing something as i said arri had very little experience in anamorphot area even though they made test lens with zeiss isco in the 1950s always sub contract arriscope is rare ish as is ultrascope isco getting a little with all the hipsters dropping them on the floor some of the arriscope ended up in india then faded away rarely rebuilt the glass is good that is what matters. a man wanting an easy life will look for an iscorama or the cheaper options a man with spunk will grab some movie arri optics the new zeiss anamorphics are probably the bigeest leap forward in design since chretien as close to state of the art as it gets today vantage hawk are hiring out sets of fake vintage optics which is the opposite of what zeiss is doing hawk are building in the error from the past and charging serious big bucks for a rental zeiss arriscope is worth a lot more than iscorama i would think a little finger for iscorama a kidney for the arri

Glenn, I read only the best stuff about the Minolta 35- 70 3.5 Macro, the third version of the 35 70. That might also be a super cool lens speedboosted. I got my 12mm SLR magic now. It´s the first version, the F1.6 one, not the T1.6 version. It has the focus wheel close to the lens mount. At f2.8 it´s reasonably sharp, popping at F4. 1.6 very gloomy, 2.0 already better, half way between 2 and 2.8 not too bad. It´s a fun lens. But boy, it is a beast when it comes to handling movement and geometry and speed of movement. Not easy to master without a tripod. GX85 stabilization does not dampen cheesy camera work. 12mm length is unforgiving when it comes to movement. All in all a great lens, but version 1 is not a resolution wonder above 2.8. Would put it in the same category as Walimex 24mm 1.4. resolution wise. Mechanically it is a joy to use. For handheld shooting the position of the focus ring is also nice ergonomically. All in all a winner for the 190 EUR I paid. Very happy! It´s a beauty on my GX85! With practice the right lens for awesome camera work.

Excellent discussion of exposure for video http://www.leeminglutone.com/#usage More on audio https://www.premiumbeat.com/blog/record-indie-filmmaking-audio/

My experience with Cinelike D is that if you nail exposure (I like to have it a little underexposed) it looks great straight out of the camera...but....if the lighting is mixed, exposure is off a bit then it can go orange! I used the Eoshd Canon Lut and whilst i liked the result I'm trying to get the best straight out of camera look. Today I'm going to test the Portrait Profile and see how it goes.

I think you should use EosHD Pro Color. AWB is fine on Panasonic cameras. Much better than leaving at 5600K at indoors by mistake... With non-LOG profiles just simply protect your highlights. Usually 0EV or -0,33EV with auto exposure is fine. In europe use 25p for 4K and 50P for 1080. Yes you lose some frames in slomo, but you can save a lot of work in post. 60p > 24p is ok but far from perfect 4K 25/30p + twixtor introduce lot of artefacts if you really want to slow things down. And the most important thing: live for the moment on the trip and not through the lens. You are collecting memories with your girlfriend and not test footage for facebook/youtube.

If they made the XC10 with 10 bit 422 color, I think it would sell quite well. It's an interesting camera. I personally love the Canon colors. But as we all know, Canon seems committed to holding back just enough features to necessitate yet another camera from their line-up. Worst than the cost of doing this, is the weight penalty and hassle of needing to bring yet more gear. We have to commend Panasonic for not playing these games. I think outside of the former Samsung entrants, no other major player has been so forthcoming with making serious tools available at a reasonable price. I was committed to buying the C200, but the more I looked into it, the more I realized it would not be a practical option. I imagine it will be greeted with mediocre sales, as more serious buyers start crunching the numbers on what it will take to support the masses of data that it generates. For enthusiast the GH5 is a godsend. I think it safe to say there is a real place for the GH5 in the professional space also. I might get out with both and see how well the GH5 can compete with those glorious Canon colors.

I'm going to pimp this again! Really flexible (literally) thing that can adapt itself to numerous support functions and thanks to the mounting threads all over it can have other things like monitors and recorders attached to it as well. Folds down small as shown with the diminutive GX80

Exactly. As a former Nikon I could see myself getting back but only with a decent mirrorless Nikon camera. But the more they wait, the more features need to be included. Sure they will get ergonomics better that Sony, but they will also need to add 4k, IBIS, trusty AF, great EVF, silent shutter with no distortion, etc... It's getting hard to catch up...