Leaderboard

yawn - are you also user Satoshi who has just repeated the same fanboy talk on another thread....

brb robust and strong body with great ergonomic made for pros, not like sony toys brb 14 bits 4:4:4 RAW video with motion cadence of gods - AESTHETICS OVERLOAD brb easy RAW workflow, SSD > MLFS> resolve> ??? > profit (how is that any problem lol) brb COLORS! I mean lets face it, NOTHING comes close (apart of almighty Leica) brb 3,5k RAW video and probably more to come - tour over Sony and panny cameras come and go, yet big Mark remains a modern classic, in 20years I will be still producing jooouicy stuff with my Mark while all the sonys a7 mk8 will just paper specs monsters but obsolete. discuss! Pic of my battered mk3 with most zeissy glass -contax zeiss (the best there is) CTB APPROVED

Danne (Magic Lantern superstar) and I have been working on a log DCP profile for Magic Lantern. At the moment, it's just for the 5D3. But if feedback is positive we will try to roll it out for all Magic Lantern cams. This profile is for use with an Adobe Camera Raw to After Effects workflow (although it may have other applications). Although other workflows may be faster - Resolve, for example - many people feel that the debayering, colour reproduction and noise control offered by ACR is unparalleled. The philosophy with this profile is to get the raw linear data into a log curve, so that blacks and whites aren't clipped and there is a relatively equal relationship between stops. Interestingly enough with this profile, and maybe it is unique in this regard, it has very accurate colour. Unlike Sony's S-Log or Panasonic's V-Log it's not necessary to correct for unusual colour reproduction. Just set a good white balance in ACR, apply a curve and colours are (almost!) bang on target. If you've never used a DCP profile before read more about it here: https://www.magiclantern.fm/forum/index.php?topic=20710.msg191757;topicseen#msg191757 Here is a ZIP file with the DCP and with two kinds of curves, one clean one with a "filmic" colour cast. You get both as a LUT and as a curve file for your convenience. DOWNLOAD: https://bitbucket.org/hyalinejim/ml-log/downloads/ ACR default: ML-Log ML-Log + curve

I decided a while ago that for short narrative films, there isn’t a better option, unless you want to go the BlackMagic Pocket/Micro route, but even then the FF sensor of the 5D3 and the native lenses with OIS wins, IMO. With that being said, I’d hate to discourage younger, newer filmmakers from going out and making a movie if they want to but cannot afford a 5D3. For me the best option is the 5D3. If you have a smaller budget, then there are a lot of options. The idea that you need Raw or 4K to shoot a good narrative short film is pushed by people that lack creativity. The best advice is to buy the best camera you can afford, learn how to use it and make the best film you can with the resources you have.

Even with magic lanern: No XLR, no EVF, poor live-view when recording raw (it's practically unusable in 3.5K), huge data rates, limited dynamic range... Not to mention using raw on a paid shoot would be a risk most wouldn't (shouldn't) take. I've done it.. but I'm not into those risks anymore. It's a great camera - Amazing image, built like a tank, pleasing skin tones. I may never sell mine. But, ultimate? No way. Also, please top approving your own posts. Every forum post in the history of the internet has been approved by the author of said post, or they wouldn't hit submit.

Most of the discussion in this thread proves my point that climate change isn't up for debate and very good science will be ignored as a result. As a liberal creative person I can't even so much as ask a damn question, let alone consider arguments outside my liberal bubble, without the finger pointing of moral condemnation from fellow liberals. When the simple act of considering some related issues and problems is considered "denial", followed by a lot of frenzied arm-waving idignation and accusations of being alt-right, that is a major problem - and we see it in our politics every day. This is really unhelpful if the human race is to solve the issues of managing our climate and understanding it better. Today, we either fit in one camp or the other. To satisfy a consensus you have to either flat out deny climate change exists, or claim that it is all proven, settled and we know everything. Anything else is heresy. The fact is we don't know it all... we aren't considering some related issues and problems with clean energy sources and impact on agriculture, farmers, food and lives. This is too complex a problem to pledge allegiance to one of just two opposing dumb football teams and attack it with a tribal mentality. It's sad to see people do so on this thread without even having watched the film.

"Samsung has profitable growth, but it is currently collecting the fruits of work and technology developed in the past years." These Samsung statements are also in line with the success of Samsung NX cameras that are still current despite their technology being stays at three years ago. With the arrival of the new CEO, I hope that Samsung will reflect on the possibility of sharing with the production of NX cameras. https://www.ndtv.com/business/samsung-electronics-ceo-kwon-oh-hyun-to-step-down-1762342

Hello community, I have finally finished my new video "A Journey through the St. Marks National Wildlife Refuge”, when you have 15 mins to spare and want to relax to some nature / lens porn, I love for you to check it out. On a good screen with sound ;) Filmed over 3 years with Baby Hypergonar 1.75x, Bolex 16/32 1.5x, Kowa C35 1.5x and Kowa Inflight 1.75x. Taking lens used were the Voigtländer 42.5mm f0.95, Voigtländer Color-Skoparex 28mm 2.8 , Olympus Zuiko Pen F 38mm f1.8, MeVis 35mm f1.8, Takumar 200mm f3.5, SMC Takumar 135mm f2.5 and the Zeiss Ultron 50mm f1.8. Edited in Adobe Premiere and colored with Colorista III and Film Convert. If you give me a screen grab of a shot you like I will tell you the combo. Bonus, of the 160+ shots 2 are not scope. A special shout out to John Barlow for his lovely Rectilux Hard Core DNA and 3FF-s which are all over this piece. Thanks.

I think Max Yuryev is doing some great work, and certainly deserves more subscribers/views: https://www.youtube.com/user/Maksimyuryev The Royal Ocean Film Society post some great think pieces, and film criticism: https://www.youtube.com/channel/UCWq-qJSudqKrzquTVep9Jwg I'm also partial to these guys, specifically the dude on the right:

Stay tuned for more ML goodies in the coming weeks!

Thank you so much for sharing this @hyalinejim! I have been using your Ektar TWISTED lut and absolutely love it! I have no doubt this is gonna be extremely useful for all of us.

See what I mean, you say I can't debate related-topics to climate change...you tell me that the only topic is whether climate change is happening or not. Binary thinking my friend... It's not good. Cleaner solar energy for example is a prevention method, one of many to consider. It's not a separate topic at all, it's all part of the topic of climate change. Once you add up all the elements it's a very complicated subject and one that can't be debated from two polar opposite sides. Which is exactly what our media and politicians have turned it into. The uncertainty comes when you try to consider the truth! Rather than simply being swayed by binary thinking, tribal behaviour and where on the political spectrum you consider yourself to be.

I have been using the Ursa Mini 4.6K for the last 2 months for client work. It is a great camera and I love the images it produces. But I have 2 qualms: It does not do low light - as in, it is not even an option. Period. It doesn't 'wow' naturally. Let me explain the last point: The canon C500 would supply all the 4k benefits, but you would be a bit weak on the codec side. But, and its a big butt, Canon will look like 'wow'. I am still figuring out why, but my feelings are irrelevant. My clients like Canon. Do them a favor and go Canon. The spec differences only smooth our experience, but not the image. The Blackmagic image is a specific look or stock that we as a community love, but is subjective. General folk see Canon footage and photos and appreciate that stock. They dont care about 444 or DR. They want to look good. Canon does that with their voodoo. Get the best Canon 4k image you can get get... and get a Ursa for yourself. Just my 2c. Oh, and low light does not mean night. Actually, with one light, the ursa is fantastic for night shoots. I mean, for example, you want to fo for a beauty or group studio look. LEDS cannot supply enough power, let alone if you want to expose in tandem with the window view etc. Your options become a bit limited once you want to get creative with light. Unless you buck up for more powerful lights etc. Which is where I would advise to hire. But bigger crew... Slippery slope...

Yep, could still shoot a good film with a 100dollar purchase.

I think the 60p raw slowmo is good enough and actually pretty tasty.

@Juxx989 As it is, the S is 16-50mm, both wider, and has much more reach at the tele end. It is stabilized, with very good protection from the elements. The 18-35 is faster, but it is not wide enough, as I use my S and Other lenses, extensively at 16mm, and not tele enough for wid ish portraits. I would be much more interested on a wider one, like the Fuji 10-24 but with 2.8f, or a 2-2.8f, an ultra wide S lens, that was my dream when I bought the NX1! A lens like that would be on my camera 85% of the time. Now, the adapter issue. I told before, not a while ago, that a NX adapter to whatever mount, is necessary, as we are moving through the years and are no new NX cameras manufactured. A lot of people took that wrong, I am not going to defend my position. For me is obvious that an active adapter to whatever mount, is necessary for a dying brand. As cameras will become obsolete, or die first, there will be a lot of thousands of lenses around, probably for cheap, that will beg to be used on other cameras. This is a serious business as well. There will be a lot of buyers, more so than the speed boosted ones. Right now I have 4 NX, so I am set for the next couple of years, until the industry moves up a bit, but I also have 7-8 lenses, that I would like to use with a different camera. The NX lens collection was an excellent one, a lot of people underestimated it, but in reality it a great small selection of lenses. 12-24 is my go to lens lately. Small pancakes like the 16/30 ones. The fish eye is my second favorite Lens. The workhorse 16-50S. My favorite 45mm. Very good and cheap generic ones, like the PZ and the 50-200. There is an amazing 85mm and a very good macro. It is a shame so much good glass to go to waste forever. My dream would be a Nikon-Samsung co operation and an official active adapter, working on S35 mode on the new Nikon full frame mirrorless. Nikon is moving away from Sony, maybe a strategical co operation with Samsung will be their saving boat, and Samsung can sell a few hundreds of thousands of ram, CPU, sensors, and whatever Nikon needs.

I agree that the highlights are intentionally blown in order to gauge dynamic range and rolloff, but I don't agree with you at all that chroma clipping isn't a serious issue. Especially on a camera like the C500 that has less dynamic range than an Alexa or Dragon (but still good and better than its reputation), you can't always expose for the highlights. There are going to be traffic lights, headlights, practicals, blown out skies, etc. in some scenes and avoiding them at all costs or underexposing horribly isn't a viable option. IMO, you cannot make all camera systems look good, otherwise they would look good more often. Most digitally acquired content–even on the high end–doesn't look as consistently good as film, even with the same crew. Only the Alexa seems to get close imo, though I have seen some good looking content shot with other cameras, of course, and some "intentionally digital" looks that work. A friend of mine had a piece graded by Stefan Sonnenfeld, and I remember he mentioned that chroma clipping was Stefan's biggest bugaboo re: camera systems. I won't get into the details because I don't want to put words in someone's mouth, but if the greatest colorist in history struggles to wrangle with chroma clipping, it's a problem, and you'd better hope you're the greatest DP in history to never blow out a single source. Or just use a camera that handles chroma clipping properly. (Fwiw, I don't find hard luma clipping problematic if one grades the knee nicely, and even film appears to hard clip rather fast when processed photochemically–so this is a discussion about color space and rolloff, not dynamic range.) And there is a massive difference between how the Alexa handles chroma clipping and how the C500/Q7 (as set up there) and F5 or pre-IPP2 Red etc. do. Sure, you can make an Alexa look bad if you're wildly incompetent. But I'd argue you can't light a scene with someone lit by a practical flare on an F5 or C500/Q7 (at least with the settings above, and the ones in the C500 footage I've worked with) without it looking too terrible to really fix in post, because the camera will blow out the highlights to red or to red and yellow, not to white, as with the Alexa (which clamps saturation at maximum at 30 IRE then slowly reduces it over its extremely wide dynamic range). With the Alexa, lighting that same scene well is as trivial as exposing roughly correctly. Of course you can to SOME extent avoid that kind of situation, or white balance to your practicals so they blow out more nicely assuming nothing else is blown out (dicey workflow, though). And if you record raw and process correctly this likely isn't an issue even with the C500. I'm just surprised that Canon Log has this problem far less severely than the C500/Q7S combo does, though I imagine there are settings that handle chroma clipping better. Some of the newer film emulation LUTs and even the SLOG3 colorspaces for F5/55/FS7 are fine in this regard, too, to be fair. As is IPP2 a huge improvement over Red's original pipeline. Canon Log, weirdly, has always been kind of good... there's the appearance of chroma clipping, but detail is almost never lost and the knee can be graded smoothly. Not so with any of the footage in the test above. And all that said, I think most operators overexpose the CX00 series pretty substantially. And in practice this isn't a huge issue under normal circumstances.

I tried the 6K anamorphic a bit more at different focal lengths. 14mm marker looked pretty safe from vignetting, but 13mm had a bit of dark corners. I'm not sure what my use case for this would be..

The only down side of using the Canon C500 is the cooling fan that kicks in when you are shooting 2K or 4K, the fan does turn off when you press the record button but after seven to ten minuets depending on your shooting location temp the fan turns back on? There is a fix for this and I got one, it's an external fan cooling set up that cools the input vent of the C500 when recording! there are two small computer cooling fans mounted on an aluminum mount that screws into the side cover cap that covers the input and output SDI connectors, this can run off a D tap or 9 volt battery, I have not had the C500's fans kick on once since using this set up, I only put the unit on when I'm doing sit down interviews. Bellow is the unit I got for the fan problem, it was found from an old blog by Matt Porwoll. http://mattporwoll.com/problems-solved/

I don't think in this test they were protecting the background of the yellow and red bulbs for clipping, and that it was more a test for the skin tones on a lit subject and the color rendition, it is clear the 6K dragon has more dynamic range with this clipping red bulb in these camera comparisons, but I can tell you if you do protect your highlights from clipping with the C500 you will be very happy with your results. Another thing is it so important when shooting Canon C Log to protect those highlights and know how to expose your image. Even a Arri Alexa will look crap if you don't know how to use it, and with a little understanding you can make most of the digital cinema cameras of today look amazing.

I own the C500 Odyssey 7Q+ and love all I get done with this set up! I also own a set of Zeiss ZF primes with cine mod, the image and color these deliver with the C500 are very pleasing to my eye. I've been putting off running some test's with the C500 and Odyssey, and have only been recording 4K ProRes 422 10bit, 24p, The RAW C Log files are super easy to grade, and I use a few good LUTS I have installed on the Odyssey for shooting in field. I have included a test by Shane Hurlbut, that show the C500 shooting 4K RAW and 2K RGB 444 10bit. I'm going to go out this week and shoot some 4K and 2K - 1080, at both 24p, 60p, and 120fps Half RAW. I hopefully can give you some more info when I'm done. Also a note I believe the C300 (original) only shoots 8 bit 422 files? and only has 8 bit out of the HDSDI, it is a lovely 8bit's!

The Ursa 4k I'd put below almost anything, including the cheapest 4k dSLRs. Super clippy and slow with lots of fixed noise. Fairly soft image, too. But the 4.6k I'd put above both Canons (except in low light). The C300 and C500 do have the same sensor and the C300 has the sharpest 1080p I've seen and it has to do with the sampling not being traditional Bayer interpolation but instead instead it just groups the photo sites into a faux-Foveon type array so it's just insanely sharp looking. Sharper than the Epic or Alexa or F3 or F5 or F55 at 1080p and noticeably. From what I've seen, C500 has a razor thin OLPF and the Q7 has aggressive debayering so the 4k image from the C500 is sharper looking than a 5k or 6k Red image but it has significantly more aliasing, but not objectionable. Both cameras have similar DR. RAW doesn't seem to provide much improvement there over ProRes, but better shadows than the internal codec for complex scenes. The C500 is basically a C300 with extra features if you use a raw recorder, so if money is no issue and you WANT to use an external recorder (I hate them) get the C500 instead. If you plan to crop or stabilize, 4k could be useful for 1080p delivery, though personally I'd (almost) never shoot 4k and if you don't crop or stabilize the 1080p output will actually look sharper, shockingly. But maybe not in a good way. The Alexa is softer, but... "smooth." But you gotta experiment with the Q7 workflow when you shoot raw. When it's set up wrong to record ProRes FROM raw, it can induce chroma clipping and aliasing you wouldn't get in the C300 or C500 alone. And shooting actual raw IMO is not worth the trouble (then again I don't think 4k is either). I dunno. Rent for sure, but think the 4.6k is Ursa Mini Pro sounds like the camera for you. It can alias, even worse than the C500, but in practice I haven't seen much of it. Maybe there's less sharpening to make the aliasing pop. Maybe I just haven't worked with it much. Dunno.

I own a ursa mini pro, previous C300 owner. (never shot with a c500). If you need to shoot iso 3200-10000 get a canon c300 - c500. Otherwise get the UMP, it has more dynamic range, better codec options, better slow motion options(Dont know about C500), doesnt need an external raw recorder, you can load up LUTS, not sure what lenses you are going to use but the UMP has anamorphic 3K mode, C300 does not (update: I see contax zeiss set, so that does not apply).

I think there's a lot of subjectivity on which of those make a better image. They are all capable of great images. If it's me, I'm going with the Ursa Mini with no hesitation unless low light is a big concern. But I've always been fond of the look of blackmagic cameras.

I filmed this last year with a Sony A7sii + 28mm F2 and a 50mm f1.4 + Phantom 4. Let me know if you have any questions!

More than any other, this one blog post helped me master professionalism and bokeh, and avoid legal pitfalls. http://www.27bslash6.com/photography.html

Do you mean the update only in order to fix the v2.0 bugs?

Raw (ML Raw or anything else) in general is overkill for a doco in 97% of situations! Say what?! You lumped Left and Libertarianism into the same thing??

Freeman Dyson is a giant in the world of math and physics. As for myself, I'm not Freeman Dyson, but I know a little about it from my science degree in mathematics (with almost a 2nd major in physics, plus I taught mathematical modeling to undergraduates at university for many years). Thus I know more than enough to be highly skeptical about mathematical models being pushed for a political purpose! I suppose many of heard of the famous saying: "There are three kinds of lies: lies, damned lies, and statistics!"" Well mathematical models can be misused and abused even worse than statistics can be! However, I loved mathematical modeling, and it is an extremely important area of study, that has many very useful applications. Just don't be ever taking them immediately at face value! Especially not in highly politically charged situations.

the wild places i grew up exploring have burnt. Some of the loveliest places in american wine country are burning and people are dying. Puerto Rico has been destroyed. New Orleans is half the size it was. Climate change is entirely real. People in my country are living it and dying it. There is no debate about it. I don't need a lecture from some ancient austrian economist in a dumb suit to know that the glacier i can see from my house is shrinking. i don't need a fucking documentary liberal or conservative to tell me what i can feel when i step outside, what 99% of scientists agree upon. this doc can go twist for all i care. and so can all these "debaters" enjoy your doom, you made it.

with speedbooster XL and wide open ???

Looks very good Ian! I love your nature works and it looks also very natural. Well done with the variety of lenses you used.

Great stuff as always Ian!

Inspirational and awe inspiring. Thank you!

^ > up there < Here's the 1st part:

And here's another one. I used that Hunter's LUT with this one.

Still plugging away on my film. And still could not be happier with ML Raw and the 5D3. I went out on Saturday to to do a couple pick up shots because my first attempt was a little noisier than I wanted and I wanted to get this scene before the water gets too cold. So I took out the Canon 35mm f2... what a lens. Anyway here is a screengrab from the shoot and a test color grade after I processed the footage. I'm still hoping to test the 3.5K builds soon, but right now... for my needs... the 1080p is more than enough.

This guy gets a lot of stick (probably for his young age) from the NoFilmSchool trolls and facebook camera police, but I have to say he brings up much more interesting knowledge and talks much more wisdom than the majority of other camera / filmmaking Youtubers. Simon Cade of DSLRguide: https://www.youtube.com/user/DSLRguide The channel has these qualities: Doesn't talk very much at all about camera specs and new gear, more what you do with what you've got. Gives his own insights into his thought processes and inspirations. Gives well illustrated creative and technical tips to his "beginners / enthusiast" target audience. Doesn't bullshit and is very open about the purpose of his Youtube channel. Very genuine and authentic fell to his content. and many more..... He also still films on a t3i / 600d - and does a bloody great job of using it for his Vlogs. He raises the point that he doesn't need another camera yet and would rather spend the money on other areas of his filmmaking.

Sure Ken. Meant focus hunting there. The camera doesn't guess by herself. So, as Brownstone also concurs the rule we've been addressed on these boards and even Yuryev and the Luminary Linaschke (PhotoJoseph) have ignored, tap-to-focus is your closer friend to follow.

^ And here's the review by One Orbit Studios: "The GH5 uses a contrast detection system, which utilizes 225 Auto Focus points and a 480 fps drive speed. In this video I go over two Auto Focus options - Autofocus Flexible (AFF) and Autofocus Single (AFS). I do not cover Autofocus Continuous (AFC) in this video. I found AFF to perform just as well if not better than AFC when tracking moving subjects. All focus tests performed with the version one of the Panasonic Lumix 12-35mm f2.8. To maintain consistency between all the tests, the speed and reliability of the autofocus system system was tested in the same lighting conditions. Below is a description of the 6 Auto Focus Modes covered in this video: *Autofocus Flexible or AFF. This option is good for filming in situations were the subject moves unpredictably. Like AFC, this mode will attempt to anticipate the movement of the subject. 1. The first test was performed with the Face/Eye Detection mode. This mode recognizes a subjects face by displaying a square outline. The subjects eyes are tracked with two intersecting lines. Notes: - Focus adjusts well when subjects moves towards and away from the camera. - Rapid movement out of the frame and the GH5 handles focusing well. - Does adapt well to obstructing the view of the subject. - Of all the Auto Focus modes, Face/Eye Detection performed the best in low light. 2. The second test was performed with the Tracking mode. To set a Tracking point on your subject simply touch the screen. Notes: - Tracking point expands and contracts with subject distance. - Focus Speed is slow to adjust when moving towards and away from the camera. - Rapid movement out of the frame and the GH5 struggles to Track the subject and maintain focus. - Tracking mode does not adapt well when obstructing the view of the subject. - Very easy to through the Tracking point off. - Tracking mode performs worse in low light. *Autofocus Single or AFS. This option is good for filming in situations were the subject is stationary. The remaining tests were performed with a Nikon DSLR in the foreground and a group of Lenses set up in the background. 3. The third test was performed with the 225-Area mode. This mode utilizes up to 225 Autofocus points. This mode is effective when your subjects are not in the center of the frame. Notes: - Focus speed was slow to pull subjects close to the camera in focus. - There was some focus hunting when pulling subjects further from the camera in focus. - Focus hunting becomes worse in low light. 4. The fourth test was performed with the Custom Multi mode. Among the 225 Autofocus points, this mode enables you to set a custom shape around the subject. Notes: - Was able to pull subjects close to the camera in focus. - This mode Failed to focus on subjects further from the camera. - Not reliable. 5. The fifth test was performed with the 1-Area mode. This mode sets one area of focus on the subject. Notes: - Focus speed was slow to pull subjects close to the camera in focus. - There was some focus hunting when pulling subjects further from the camera in focus. - Focus hunting becomes worse in low light but slightly better than 225-Area mode. 6. The sixth test was performed with the PinPoint mode. This mode helps you achieve a more precise focus point on your subject. Tapping on the subject will activate a zoomed in preview of the focus area. You can also slide the cursor on the screen to specify the focus point. You do lose the zoom preview once you press record. Notes: - Focus speed was slow to pull subjects close to the camera in focus. - There was some focus hunting when pulling subjects further from the camera in focus. - Focus hunting becomes worse in low light. - Overall this performed just as well as the 1-Area mode. In summary, the GH5 autofocus system is not good for tracking fast moving subjects. I would recommend using the Face/Eye Detection mode in well lit scenes with high contrast. I would avoid the Tracking and Custom Multi mode, which as you saw were very unreliable. Focus speed was not great but was consistent in the 1-Area and PinPoint modes. In general, the GH5 produced a lot of focus hunting through out our low light tests. List of Auto Focus modes best to worst: 1. Face/Eye Detection -AFF 2. Pin Point -AFS 3. 1-Area -AFS 4. 225-Area -AFS 5. Tracking -AFF 6. Custom Multi -AFS"