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Right now me and some DPs in New York are trying to make processing film more affordable. Lighting was 2 1x1 astra lights at 5600k into a bead board, soft side. Book light. Then double diffused with 2 silks stacked. F35 is an interesting beast. I can upload raw footage so people can play with or if you send me a harddrive or sd card I can put stuff on it. I recommend to everyone if you can rent it, or just try everything. And the GH5 - very nice camera. Not for me, but I am just one opinion and trust your own instincts. My opinions change daily.

You can record external to hdmi at 1080p. I do this with an atomos ninja blade. You can even let it trigger the external recorder to record of you enable the in camera h264 proxy recording. This will give you RAW files in the compact flash card in camera, H264 .mov files on the SD card in camera, And the external recording on the monitor. There is an app called switch in the magic lantern forum, that can cut out the extra black frames that this workflow gives to the proxies. This way you can edit with the proxy files in and later sync up the raw files for grading. I only tested normal 25 fps with this workflow, 48 may behave differently

Occasionally I like to pretend video doesn't exist on EOSHD and I'm preparing a review of the Leica Q! I really liked Mattias Burling's review And this guy's, with some stunning shots in both... I bought mine used for £3000. The prices new have gone up due to lack of stock. But if you think of it as a £1500 lens and a £1500 body, in Leica terms that's cheap and with this you get very fast AF unlike on the 28mm F1.4 M It is quite simply the best small full frame camera I've ever used And what I find very interesting technologically about it is how much of a Panasonic trace there is in the camera, a clear collaboration and I think we'll be seeing more from Panasonic in the full frame market in due course (just a personal opinion). I had the Sony RX1R II but I prefer the Q, which is saying a lot because the RX1R II is an amazing camera and has better specs on paper. The look of the 28mm F1.7 is drool-worthy wide open on the full frame Panasonic... I mean Leica... sensor. The 24MP sensor in the Q has amazing colour, the lens is crazy sharp... You have a 35mm and 50mm crop mode, which works in video mode too. I really wish it had 4K, 3K and 2K high quality video, as the cropping ability from the full frame sensor at 28mm gives you practically a 28-50mm F1.7 OIS zoom. Firmware update please Leica!

I owned a Kinemini and now own a few KineMax. The KineMax is a significant upgrade over the Kinemini in every way. Obviously resolution, color science, and usability. The Terra 6K uses the same sensor in a smaller format. Dynamic range in the "golden" mode is insane. My DP (owner of alexa mini) was blown away by our ability to shoot subjects directly against a bright sky. Cineform Raw >>>>>> every other codec out there. Lossless raw at smaller file sizes than Prores and I can cut 6K raw even on a first gen i7. The cameras are rock solid. Never an issue. Never a crash. I had one big problem on set once not getting it to recognize the SSD, but that was because I was using 7mm instead of the 9mm SSDs that the slot is built for. Yes you have to deal with crappy Chinese support and sending it back to Bejing to fix anything so if that's not for you, don't even consider them. Now, cinema cameras will be a pain in the butt if you're 'upgrading' from DSLR, so the GH5 and the 5D come out to shoots way more than the Kinefinity stuff. But that's a different argument.

The thing with scientology is it isn't actually a religion, it's a cult and a money making ploy. So the usual rules of not judging somebody by their religion doesn't apply to scientologists. I instantly distrust them. Watch the Louix Theroux documentary on it... very good and illuminating.

He charges $700 for his online guides. That is enough to make anyone into a jealous communist! I charge $20 for mine! Maybe I should start LeicaScientology.com

It's a very impressive little camera. Even though I haven't done anything yet, I'm happy with it.

I have to be honest here. There is always alot of talk about how these cameras are way better than that camera etc. But never any footage. Never any reviews. Never any first hand experience. Where is this certainty that its so good coming from? Who is the source? I remember some BS argument when they missed the release date with a year or so. The lack of cameras was said to be because that they couldn't fill orders and all cameras went to the high end Chinese production houses and they didn't have internet or something... give me a break. I guess Im confused because on this forum their cameras have been brought up in "which camera should I buy threads" as if they've always existed. When in fact they have rarely been for sale at all. I don't know how many times I've seen the recommendation to buy a "battle tested" camera from them. Well Ive been on that waiting list for almost two years... lol. I just dont see how this borderline vaporware can be so easy to recommend and compared with so little to no info about using them. I see about 50 videos on YouTube from recently. On three different models. One or two reviews. And thats from several years. Personally I wouldn't take my chanses on this and instead go save with a bigger brand. But that's just me.

Resolve 14 full version - been using it a ton - no crashes. Very happy with this program. Blackmagic is a HELLUVA company.

My blog post on this news: http://ironfilm.co.nz/news-leak-zoom-f4-with-six-inputs-and-eight-tracks-is-like-a-new-low-priced-zoom-f8/ (some of it repeated below) News got leaked accidentally by B&H that a new Zoom F4 is coming. I think the Zoom F8 when it was announced was a groundbreaking new recorder in what it brought to a new low price point for soundies. Now the F4 is even cheaper ($650 vs $1K), and has nearly everything the F8 has! Except for most notably the lack of extra XLR inputs (8 vs 4, thus the names: F8 vs F4. The "F" = field recorder, "H" = handheld recorder such as H1/H4n/H5/H6) and the lack of an app for the F4 to mix on a tablet like you can with the F8. Oh, and in a more minor point the F4 has a monochrome screen vs the 4 color screen of the F8. But everything else (such as pre amps, and time code) is basically exactly the same as the F8! Here is the blurb and specs list from B&H (page is currently down, you need to use Google cache to view it):

With the new firmware 2.0 update, the Panasonic GH5 becomes the first 5K 10bit H.265 mirrorless camera, and you don't even need an anamorphic lens to join the party. Read the full article

So while I'm out on a gig yesterday my wife sends me a pic of 3 boxes. Obviously I was excited! So first thing I do when I get home is get rid of the shipping bulk, right? Not at all excited about my new BMPCC, a 14mm f2.5 asph lens, and my Pebble Time watch. Then I did the responsible thing and finished working on a Toyota spot I'm editing, and by time that was done I was looking at 2130h. Ho boy. But y'know, I've been really excited about having a portable camera, and to hell with it, I'm going to film something! Wife and screaming kid wanted to come, so we all headed to a nearby tourist trap. Colour Version: B&W Version: Personally, I like the B&W better, but my wife argues for the colour version. Things I learned with this test: 1) It definitely keeps the info in RAW, but man do I never want to touch 1600iso ever again! 2) The 14mm isn't the best cinematic choice due to the amount of reflections it has in the lens flares. 3) Shakycam is very real with this camera, even with using my tripod as mono- and bi-pod. Can't wait to shoot more projects with it, hopefully with more planning and light involved!

I really liked the tonality of the D70 (at the expense of very grainy shadows), but if you're looking for a clean highlight roll off, I'm not sure that's the camera, either. I did like the look of it. Less digital looking than the 20D and subsequent Nikon and Canon cameras... but noisier. I remember the highlights clipping just like with any other digital sensor, though. I think you might be stuck with film tbh. But there are worse things than that.

Thanks - yea - was just comparing it with something my friend just shot on 35mm and it looked really similar! Going to try to regrade it.

100 bucks man. Test vs Sigma - that would be a really good test.

Thats the one I have been eying before. Ive heard very good things.

Ive seen it, its great. Ive seen all his films many times. But imho, Scientology, catholic church, tomato, tomato. Like I said, I never understood it. A person believing in that alien scientology BS isn't any less trustworthy on cameras to me than one that believe in Jesus "The Spaghetti Monster" Christ. I look at the images in this life and forget about the photographers after life beliefs Speaking of religious believes, cults and Leica Colors... This guy was spreading the lords word (JW) when I past him holding my Leica X1 today. Didn't have a fast enough shutter for him to be sharp, but the colors are there. (And it is a helluva sharp lens.) Its from the Kodak era when all digital camera manufacturers where still trying to match and look like film. Good times

Every now and then we have this discussion. I think many underestimate how difficult is for a camera company to establish itself and expand in the world market. From what I understand, Terra has been in great demand. There is a HUGE market just in China for it, and maybe I say maybe most buyers there are actually putting their cameras to work instead of just shooting vlogs on youtube. Now that being said, if you need a camera that shoots RAW at a low price point now with very good support and you are closer to the US than China, blackmagic Ursa mini might be a better choice. In any case, there is plenty of very nice looking Kinefinity footage for the ones that are willing to look:

It has everything to do with the comment - from someone else - that I was actually replying to in the first place, which related to the person rather than the lenses. I don't find him personally relatable. Just as I wouldn't if he was an alleged jealous communist. If it helps, I find him lens relatable.

I printed 2m prints from a Fuji X-T2 + $1K 56mm and the cheap SD-Quattro. The Sigma print has more detail, better contrast and nicer colors at a third of the price. Thats the last test I ever needed to make for myself on the subject

It doesn't, but it does seem to affect his pricing

http://www.scientologynews.org/press-releases/meet-a-scientologist-thorsten-overgaard.html

Spreading false prophecies amongst the gh5 sheep, dooming them to digital darkness forvever. Just wait till the return of the one true film.

Yes it's experimental. We all realise that. No amount of analogies with mechanical cars and mechanical cameras (Super 16 film) will convince me they are relevant to software and processors though

I find him being a scientologist to be more of a barrier to be honest.

This is a complicated topic that cannot be answered by the question you asked. Here is a video that shows some pitfalls about LED and dimmers. So in short, you ether have a LED light that includes a dimming function, in the case of filming light you want constant current dimming, and not PWM dimming as that works by rapidly turning on and off the LED at a high frequency but can still cause problems. (Sony A9 with LED screens comes to mind as an example of what can happen)

I made the mistake of telling my other half how much a Leica Q was when we saw an unpriced one in a cabinet while I was buying an ND filter in a store a few months ago. So what I'm personally scared about with regard to the emotional truth of photography if I ever rang up to order one would be this.

Quite interesting to look at the unprocessed DNG raw image from this camera... The JPEGs are 6000x4000 from a 24MP sensor. The raws are actually 6015x4015 and the lens seems a bit wider than 28mm. Here it is in Affinity Photo without the in-camera distortion correction - Here is my same shot graded in Adobe Camera Raw which has the distortion correction map applied by default - This is a big departure for Leica who have been vehemently against digital correction of their optics. Another clear sign of Panasonic's influence in the Q. When the digital correction works this well, I don't give a crap what the optics are doing!

i said See ya later to Adobe~! well not rlly i still have photoshop and lightroom lol resolve 14 is way faster on my mac. havent used it much but so far so good

Anyone know how transferring the license works now without the dongle? I.e. can you still install it on two machines - but this time without the dongle?

Mattias, confess! Your wife/gf (the one in the sofa) reads the forum too. Those bargains you mention are just a lie to make her not freak out.

I think that the mechanical shutter makes a more noticeable difference with significant movement and with handheld shots. The mechanical shutter probably also reduces noise. By the way, Panavision modified a few F65s by removing the mechanical shutter. They called the modified version the "F65 Mini," and they usually live in France: http://panavision.fr/produits/sony-f65-mini/ www.vimeo.com/197192795

I was curious to test the f35 - because I am getting tired of bayer-pattern CMOS and how it renders skintones vs CCD, and Ricardo brought his 5d mark iii, so boom, added that in. F35 vs F65 below. Shooting at 400 ISO on both cameras. F35 was 12-bit DPX files 1080p, sony f65 was 4k 3:1 compressed raw

I think you guys should debate this in a new topic, because it's killing this one for the rest of us.... title of the topic is "What Magic Lantern reveals - 5D Mark III capable of 4K all along" I really mean it will all the good will in the world, please for the love of all that is holy open a new thread instead of using this one... I've nothing against you guys arguing about the science of dynamic range over 20 pages.... Just put it in the proper place so this one can stay on the topic of Magic Lantern and the 5D Mark III raw. PLEEEASE!

In principle RAW should be data directly off from the A/D converter. But that is hardly the case for most manufacturers since there is always some level of processing, usually selective noise reduction and gain for each channel. I would say that RAW data right now refers to just non deBayered data + some metadata. Log space just means to calculate the log (or other log like function) of the high bitdepth pixel value before you conform it to a lower bitdepth in order to maximize the information that is captured in the lower part of intensity scale. So for example lets take 12 stops of light captured from the sensor and processed with an 12bit A/D converter: stop 1 2 3 4 5 6 7 8 9 10 11 12 0 2 4 8 16 32 64 128 256 512 1024 2048 4096 if we were to scale that into 10 bits we would have these values: 0 1 1 2 4 8 16 32 64 128 256 512 1024 We just lost two stops of information in the shadows... So a log version of the original 14bit data, scaled to 10 bits would give: 0 85 171 256 341 427 512 597 683 768 853 939 1024 And that results in no loss of dynamic range by spreading the values for each stop equally across the bit range. Of course things are a bit more complicated since the log function that is used has to take into account the sensitivity of the sensor, the color calibration and so on. For example you might want to assign more values to the midtones which most things are anyways, and less to the highlights.

Exactly.

It is also a great camera I will probably get one again in a year or so when they are cheaper. The EVF/OVF is excellent, better than on the X-Pro2. My Q cost a few dollars less than two used x100f. So there definitely is some money to be saved as well.

Premiere is extremely poor at the moment. The Resolve 14 BETA is more stable than Premiere in 2017. And free... blows my mind. Downloading the latest Resolve 14 now, and I am sure the performance and reliability is even better. Adobe should apologise for being so poor, and give everyone an opt-out of the subscription service for a one off fee. Otherwise, the sub service is going to whither and die, people will move back to Apple and Blackmagic. It really is that bad. You can't have such a mission critical piece of software with such poor reliability for months on end.

This is my thoughts on the various options for sound recorders we can choose from on the market: http://ironfilm.co.nz/which-sound-recorder-to-buy-a-guide-to-various-indie-priced-sound-recorders-in-2017/

I redid the grade here, still crazy macro blocking in YT: Also did a ursa mini 4.6k in 16mm mode - like the color better than the micro or pocket. better blues

Banding is easily seen in 8 bit moving images but not necessarily due to them being 8 bit but because of the high levels of compression on internal codecs. 8bit files recorded via HDMI to an external recorder in a good codec like ProRes can be very smooth and banding free even when pushed around in grading. 10 bit allows even more manipulation and opens up the use of LOG without fear of banding.Some cameras on the other hand can't record a blue sky without showing banding even straight out of the camera in a non log profile. 10 Bit RAW is probably just about OK for a Canon 5D3 which tops out at a theoretical 11ish stops of DR but in practice due to it not being able to ETTR perfectly on every shot means 10 stops or less as a practical limit. From this you can generate good 10 or 8 bit files with the benefit of a RAW conversion done outside the camera where quality rather than speed can be prioritised. We know for instance that the RAW converters in NLE's like Resolve are not as good as those for stills in say Adobe Camera RAW or Capture One due to the CPU overheads required so imagine what a tiny camera CPU does with RAW sensor data in real time in order to spit out an HD 8bit 4.2.0 file at 25mbs........

If I may embellish. I suspect many people are confused about 10-bit video. When we look at a colors on our 8-bit screen we're looking at 256 shades of each primary color, R,G,B. The dynamic range is generally around 6 EV between darkest and brightest. In 10-bit compressed video, like that of the GH5, We have 1,024 shades of colors, but STILL IN THAT 6 EV dyamic range. What this means is that if you shoot a wide DR shot of the sky and some people under and umbrella, you can't bring back more detail from the clouds in 10-bit then you could in 8-bit. The only real benefit of 10-bit compressed video, that I could see, is banding where there are fine gradations of color. And that benefit, is almost impossible to see in a moving image. In 10-bit DNGs, that Andrew is mentioning above, you're getting 1,024 shades OUTSIDE that 6 EV gamut, so you can recovered highlights or shadows. If all ML did was get 10-bit RAW to work on the 5DIII, that alone, is worth the guide right there!!! As soon as they port this stuff to the 7D I'll buy that guide immediately!

Hey Ed, maybe do the test again? Even one scene where everything is constant (except camera) would be good.

Here are a few more screengrabs from my film. The first one is with the Canon 24-70mm f/4... And the second is with the Canon 35mm f/2... Haha, in the first one, the actor looks like he is shaking his head that I am posting these grabs... lol.

For the first time I am tempted to get 5K Retina Imac to enjoy the full resolution

Didn't know that, saweet! Co-incidentally saw this one:

NX1's AF was the second best back then, not that further away from Canon's, and still I prefer it from Sony's for video (so in my opinion, it is still the second best!). Samsung was nothing to Canon back then, the smaller players were afraid the most (Olympus, Fuji, Panasonic mainly; Sony was worried, and Nikon would have been doomed). Olympus and Fuji haven't the resources to fight Samsung, Nikon can't compete in the new digital age, and even Panasonic is much smaller than Samsung. Sony is powerful, but Samsung had some amazing R&D breakthroughs, and the capacity to manufacture EVERYTHING you need for a photo/video camera (CPUs, RAMs, lenses, Super AMOLED touch screens, everything). First 28mpxls BSI sensor (A7Rii was the second big sensored BSI actually) etc etc. Samsung just decided that they didn't want to compete on a declining market, and pro video/photography was a long shot. NX1 was too late in the game. It is just a pity that we didn't see a NX1mkII, they did the first version SOOOOO good, without any prior real practical experience. The NX team had some truly talented and passionate people (just check some of their older corporate videos), something that a huge capitalistic and autocratic mega-trust, couldn't allow to exist.

More GH5 anamorphic footage by a DVXUser member....all handheld with the SLRMagic Anamorphot 1.33 40 adapter. The GH5 just continues to surprise!

Recently I did a test with the Bolex 16/32/1.5x, HCDNA, Ultron 40mm and Samsung NX1.

Unless you need ***need*** the HDMI on the DR701 I'd skip that and get the F4 for sure, much much better overall. Or save your pennies and get the heaps cheaper DR70D (which is more or less the same as the DR701 but without the time code input).