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Hey all New firmware update, 10th October 2017: Following bugs were found after updating the firmware to Ver.2.0 but now they have been fixed. [Power Save LVF Shooting] was automatically set to [1 sec]. (This makes the camera go into sleep mode in 1 sec in a standby mode.) * [Power Save LVF Shooting] will be set to [OFF] when the firmware Ver.2.0 is updated to Ver.2.1. If you would like to enable [Power Save LVF Shooting], please set it on manually by selecting a designated time. The parameters of picture quality adjustment in Photo Style were all set to -5 when setting the recording mode to [MP4 HEVC(AAC)]. This bug has been fixed. * The parameters of picture quality adjustment in Photo Style will be reset to ±0 when the firmware Ver.2.0 is updated to Ver.2.1. If you would like to adjust the picture quality in Photo Style, please adjust them manually. There were cases where [V-LogL View Assist] did not work, This bug has been fixed. There were cases where motion pictures recorded in [AVCHD] cannot be divided. This bug has been fixed. --------------------------- http://av.jpn.support.panasonic.com/support/global/cs/dsc/download/fts/index2.html Cheers Chris

Ok, so how does that all add up? Simple, I started reading Andrew's site a few years ago and learned everything I needed to know about the Samsung NX1 and SLR Magic Anamorphot 1.33x adapter. I decided to use them on our first feature film. After numerous film festivals and special events our film, Black Luck, signed an International distribution deal with Indie Rights. Yes, we probably would have done the film without this knowledge, but I'm not sure it would have had the same look or feel. The camera and adapter worked amazingly well and proved that a no budget indie thriller can still have a high production value. I can't thank Andrew enough for educating me and so many other filmmakers about the possibilities of shooting a feature film with these great tools. Cheers! David P.S. If you want to check the film out, it just launched on Amazon Prime. Read the reviews as well. This isn't some masterpiece of cinema, but it is a satisfying movie created with passion. https://www.amazon.com/Black-Luck-Garrett-Sheeks/dp/B0764KD2K8/ref=sr_1_2?s=instant-video&ie=UTF8&qid=1507185936&sr=1-2&keywords=indie+rights

I tried to like it. The sets, fx and cinematography are certainly first rate. The actors are good, the direction, the editing. I was able to sit through it. Then the scene with the Wallace CEO, head cataract guy, that was NOT a Okay, I was a young guy once and can understand dropping a naked women out of a pastry sack and letting her writhe on the floor a bit. I can even understand the actor with the cataracts blathering the most inane stuff to his replicant! (And we thought Gossling was lonely ) But to knife her for no apparent reason put me into full annoyance mode. Why do we need to hate him, and if we do, why doesn't he get killed at the end like the maker in the first movie? In the first Blade Runner, there is a simple, strong story that keeps that morose movie together. Harrison Ford is in a sucky job, in a sucky city, hunting down merciless replicants. His life is meaningless. Then he falls in love with a replicant and begins to have doubts about his life values. Meanwhile, Rutger Hauer, knows his lot in life and wants to understand why it was made for him. So he searches out his maker. In the end, even though he is bred to kill, he has compassion and let's Harrison Ford live. The original Blade Runner put story first. What is the story of Blade Runner 2049? There is none, there are only pieces of story, none of which connect or make much sense. My fear that it's just a vanity project with too many cooks in the kitchen was borne out, for me. My favorite proof that no one with common sense had any control over the script is when the Wallace replicant kills a police forensics guy THEN the police chief and says to Harrison Ford that they're going to take him off-world where they can torture him. I'm wondering why they can't do it on Earth? I mean, there is no sense of society, government, police power. Again, just a mis-mash of half-baked story ideas. And why kill the police chief. Makes absolutely no sense. I never cared about any of the characters, except Gossling's hologram. Though I keep thinking, if Wallace industries makes her, why don't they know what he says to her? I guess someone got their "let's put in a little bit of 'Her' in BR 2049" You're in trouble when the only good thing about your movie is the little bit you plagiarized from another And the music. I don't care how good it is, it did not fit the story most of the time. There were many scenes that would have been stronger without it. Film-maker children with sound synthesized sound-grenades. I heard a young person leaving the theater saying it was "much better than the first one." On a bright note, I just finished "Trapped", the Icelandic series. Great film-making isn't dead.

That's pretty much the reason I stopped going to the Sony Center kino - it got too much. Yorck Kinos, while smaller, are so much better. Saw the film last night and really really enjoyed it. The photography is stunning, continues the really good work Deakins has done with Villeneuve over the past couple of films together. Every shot is beautifully put together and it was so refreshing to watch a Hollywood blockbuster taking its time with pacing and mood setting.

I just came back from the movie and I entrered the cinema with maxotics notion in mind. If this really were Personal passion project there wouldn't be so much mainstream content in the film, and the philosophic aspects would be a few levels above teenager masturbations. While watching the movie a 70 years old couple answered the phone two times, two fat people in front of me opened three soda cans and a few gigantic snack bags that made horrible sounds, the projector lens had problems because the keystone correction was at max so the upper part of the screen exibited chromatic aberration, etc... Anyway, at least it was in my 27.000 people hometown shit hole and I only paid 5€ to see it, can't ask for more.

Hey Salim. Thank you! I will do my best to outline some of what I experienced. First off, I looked at making the film as my film school. I had done short doc work and commercial work before, but nothing as big and complex as this. We are fortunate in the middle of America that a lot of people love to be involved in filmmaking. We had a ton of volunteers, but we signed contracts with each of them offering everyone a piece of the pie, if the film made money. For me, it's really about creating enough revenue, so that I can keep making films and share with the people who help make it happen. When we first started we had many delays, we would shoot one weekend and then it was two weeks before we could get back together. Everyone had their regular jobs, so it took us about 6 months to complete the film. If I had any type of budget I would have everyone take off two weeks and we would knock it out, but I didn't have that option. The cameras were great, but I did have a few issues with the lenses and NX1 manual mode when I first started. We finally got it down properly and it was good to go. We only had a Arri 1K and Arri three light kit when we first started. I bought a ton of c-stands and 2 Digital juice Flag kits. That really helped control our lighting setups. Most of the lighting on actors is bounced light, which I love the most. I wish I had known more about actually directing talent. That was something I have studied ever since. Jason Levering and I co-directed and that was complicated as well, but we both adapted and kept pushing each other. When it comes to festivals, I would say enter the festivals that you think the film will fit in the best. Have people watch it and have them give you their honest opinion. I had a fantastic editor give me some amazing insights and I ended up re-cutting part of the film. It's nothing personal and you have to look at it that way. We were fortunate to sign with Circus Roads Films who is a sales agent. They reviewed the movie and liked it. I would recommend them if you have a solid film. They took it out and got us a couple offers, but they didn't fit what we needed, so we went back to the festival circuit to build the film. Then we signed a deal with Indie Rights. They have a fantastic reputation with treating their filmmakers well, so we were happy to sign. There is never any guarantee on money. I think if you are going to make any kind of money you need someone taking your film to AFM and Cannes, which Indie Rights will do. They will sell the rights to different countries and that can be a nice revenue stream. On the other hand, if you have a massive following, it could be better to self distribute online. It just depends on the film and where you want to go with it. I hope this helps out. It is a little vague, because I have no idea how much money the film will actually generate. Best! David

Congratulations, what an achievement! I watched the trailer, but couldn't watch the whole film as it isn't available in my location Is it US Amazon only?

Hold on guys. If anyone is going to create my profile as a LUT and put it on EOSHD shouldn't it be me?!

http://www.imdb.com/title/tt5989056/fullcredits?ref_=tt_ov_st_sm Was immediately curious to check it out on IMDB, but seems your credit list is a bit empty perhaps?

Thanks. All my videos on a gimbal use an external mic. A Yi adaptor is needed to connect an analog audio plug via the usb-c port. It works fine. This provides an example of the audio with an external mic:

There is a bug in new firmware (maybe also in older fw). When you record on 256 gb sd cards, record stop when file get 103 gb dimension. With 150 mbps you record 2 hours so is not a big problem, but if you record with new 400 mbps codec, record stop after 34 minutes. If someone know how communicate to Panasonic this bug please do it.

4.6K. is this the same sensor in the Ursa Mini Pro then?

This is really cool. Gonna rent it on Amazon to check it out. Congratulations!

If you're using the on-screen exposure meter as a guide then 1.5 to 2 stops to the right for Pro LOG S as it is S-LOG based, and for Pro LOG Cinema you can expose as normal in the middle at 0, or maybe even slightly under - depending on if you want to protect the highlights.

The Martian is PG-13 (larger potential audience), skewed more heavily female, did better with younger audiences (2049 was 86% over 25) and did $54m+ on its opening weekend. In fact its second weekend was better than 2049's debut at $37m, because of all the buzz it had terrific legs. It also did $228m in the US alone. Blade Runner might not reach that with its total global gross. Hollywood accounting aside, the studio has to be disappointed with returns of less than $8000 per theater for such a wide release - and it barely topped $50m outside the US. The Revenant got a seriously fat boost from all the Oscar nods, going from $54m in grosses before nominees were announced to $170m+. But to counter your point - opening weekends can be a fairly accurate predictor of overall success as 25-35% of the total gross typically comes in the first week of release. This one seemingly had a built in audience so it would be front loaded. If that's the case it could drop off the cliff pretty quick.

I agree! I still use these cameras for commercial interview shoots. They were so far ahead of their time.

You don't always have the luxury of a high resolution screen. And focus peaking can help give you a bit more information than what a high res screwn would give you. I was yesterday 1st AC on a short film with the GH5 and the DoP only had one monitor for his camera (& no HDMI pass through! So wouldn't even have mattered if we had a second). So I had to use the GH5 screen itself for pulling focus when it was on his shoulder. Having focus peaking really helped save my butt when pulling focus on the Nikon 50mm f1.2! :-o

Well break-even would suggest that for the movie to make a profit, it has to do over $400m from ticket sales, blu-ray and merch, doesn't it? So box office isn't everything and yes bomb maybe too strong a word but the problem is clearly illustrated Hollywood will kill its own product if it carries on like this chasing $400m returns on art. Because it's an impossible business model and the only way this level of greed can be maintained is by churning out branded, franchised, heavily marketed lowest common denominated trash for the masses.

If Samsung could see the potential

I am sooo tempted to buy an a7s for its amazing lowlight 1080p and then some external 4K ProRes. But it’s still a few hundred away from a must buy for me. When I can get a like new one for $1000 or less, I’m on it. With that being said, I would stick with my 5D3, unless I could afford a C200 or an Alexa Mini. I’ve also been really impressed with a lot of the LS300 footage I’ve been seeing lately. I’m just waiting for an indie film to use that camera. I can’t believe nobody has yet. A friend of mine sent me this link and it looks amazing...

“While digital sees blue Kodak film sees shades of blue..” a remarkable view..in a very competative market with Kodak giving the dp a step up go to Panavision in Woodland Hills where a super 16mm or 35mm camera is waiting ..it’s your destiny

Uh guys...

GH5 => 16mm Patina Recipe: Reduce DR, esp. highlights. Nothing will be very bright Down-res to 720p or so, then perhaps scale back to 2K or 4K to add noise (via Nesting, etc.) Apply really chunky monochrome-ish organic noise (FilmConvert or 16mm film scans etc.). FilmConvert LUT for appropriate Kodak etc. film stock could also help (could then skip (1) & perhaps (2) above) https://www.premiumbeat.com/blog/achieving-a-super-16mm-film-look-when-shooting-digitally/

Just bought the app, it is really cool!

Cool video. Makes me want to take a ride on ny MB as well as find a good deal on a XC10 (I look for one every day).

Ben, I am glad to hear you bought another one, your XC10 videos were amongst my favorite and they truly captured the spirit of this S16 digital camera. I still have the XC10 saved in my eBay search... just waiting for that price I feel comfortable with. I keep chasing the XC10 form factor as well. I've had two FZ2500s and the RX10ii since I've sold the XC10. Both were cool cameras, but neither are as unique as the XC10. The FZ2500 has solid high bitrate, all-i 1080p, shutter angle, decent Touch AF and tracking, multi strength, body selectable NDs, internal zoom, slow/quick at the touch of a button. Even with all its strengths, it just isn't worth $1200 in my opinion. The RX10ii I really liked as well, solid 4K image, okay 1080p at hfr, good preamps, sLog2 but both feel more like camcorders than S16. That zoom through wide angle is a cool trick. I had one for my ZR60 back in the day. I hope Canon continues to update the XC line. As is, it's a blast to shoot with, with a few refinements, it could be epic.