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Yes. I, random stranger on the internet, affirm that you made the correct camera purchase for yourself. Congratulations. You are awesome. Now go make something interesting with it.

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:

i love my stuff! PANNYSVHS 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 was beginning to think that we need JCS to tell us whether this is some obscure AI bot at work... but then I realised there’s an issue with the “I” part...

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.

These are not hard rules but I have some suggestions for making the place easier to read and less cluttered... 1. Please don't quote an entire post or topic as the next reply directly underneath... We know you're replying to it, we don't need to see the same big post repeated 2 times in a row.... If your post is on the same page, people usually see the content you're referring to and the context. If there's a big post with 6 images for example, and you quote it in the very next reply... think about how stupid that looks to the reader. 2. Please try to avoid putting signature text in the main body of your post like "CTB Approved". Put it in the signature of your account profile. That way, it can be formatted separately (smaller, with divider) to the main post text in keeping with the forum design - easier to read for us all. 3. This is a place to discuss camera gear, filmmaking and films! If the main purpose of your account is to promote a service, product or another blog or YouTube channel, then it will be deleted. I want to see real people, with great posts like Mattias Burling, actual organic users with things to say and not a heavy bias or promotional bias towards one thing, or one brand. 4. This forum prefers people who post under their real name, rather than the name of their channel, online presence or a nickname. 5. If your topic is a question please search first before posting it, so regular visitors don't have to read the same questions every day that have already been answered before. 6. If a rumors site posts news, link to the ORIGINAL SOURCE of the news, NOT the rumors site. Save us all the bother, go direct to the source and bypass all those ads. 7. If you are selling products and services that rival EOSHD's, I will allow it only at my discretion. Charging $100 for a picture profile I don't like, that is of low quality and in direct competition with my own, is a certain ban. 8. Please be civil to myself and the mods - because we're here every day and getting heckled everyday isn't what I run this site for! It's the quickest way to get banned. 9. I am all for blunt, non-politically correct chat, banter and forthright opinions, just be respectful of each-other 10. Post good stuff that starts a discussion... leave the boring stuff to the other sites These are guidelines not the law... I will as always be casually keeping an eye out for people who flout multiple guidelines regularly as I want to maintain the quality of the community for the regulars. Cheers!

"We" as in you and your other two accounts?

So I guess you're right, Canon the Barbie. 5diii by a landslide. Maybe even the original 5d. Mods can kill the thread now

Quoting rates of pay (and worse, “I’d not do it for less than X”) is irrelevant. It is unfortunately likely to be the case that they can find someone cheaper (free) if they need to. It doesn’t really matter whether that person is better/worse more experienced/less experienced. If it’s “good enough” then it’s good enough. If it isn’t then from their perspective it doesn’t really matter. They’ll find someone else. The only light at the end of a dark tunnel here is that you have been offered an opportunity to prove that your services are invaluable to a market (apparently) prepared to pay. It is obviously your choice as to whether you want to make the investment (of time, primarily) required to exploit that opportunity. Perhaps this is a naive way of looking at things but in today’s economic climate (outside London, Paris etc) I suspect it’s also realistic? Looking at it as being asked to work for free appears very unattractive. But looking at it as being handed an opportunity to impress and develop a market on a plate is more positive.

So much for 500£ per day.. everything is relative guys, you should do some fact checking about the world, not everywhere is London, nor Paris, nor LA. Socio-economical reality is different, even between territories in same countries. I worked with a Swedish photographer a couple of weeks ago, he is 5 years in the business, while I am 19, he was earning 5-6 times what I earn per year, but then his rent was 2 times mine, his health insurance 3 times mine, he is living in a very organized and well built social state (some people call that Scandinavian Socialism), and while for me it was the coldest days since last March, he went to the pool sun bathing and swimming with other Swedes! What he earns in money, he looses in sun (just a joke, I loved the central-northern European weather when I lived, or visiting places). In declining economies, like the ones is southern of Europe, with thousands of unemployed specialists from the golden decades of 90's and 00's, and hundreds of new kids coming into business every year, from very bad private media schools, there is so much you can ask. In my 11.000.000 country, there is officially 29% unemployment (independent organizations say that is more than 35%), and almost 45-50% on dynamic ages, while almost 400-500.000 of highly educated people have left for other countries (brain drain), your bargaining chips are less than you think. and do think about poorer European countries, middle eastern and African ones, most of Asia, etc. much less than 10% of the world has the ability to earn 500£ on a single day. @Charlie you did your best, and you have the portfolio to support it. For more specialized advice, I think @kidzrevil is doing something similar, but in New York!

You are mad people. 1) First of all it is his first job, ever. I did a lot of free, low payed jobs in late 90's so I can learn different skills in our field. 2) Also, southern of Spain unemployment is at all time high, almost double the unemployment rates of Madrid, Northern Spain and Catalunya. When the rates for a normal 5 days/40 hours per week, is almost 800€ (it is half of those in Greece, unemployment is 30%), and he is probably getting black money (non taxed, but not insured either, that happens a lot in southern Europe), how would you ask for a day inside a studio shooting models? 3) if he got his mirrorless, with a couple of lenses, how do you charge for equipment? Usually it is around 2% of the market value (not when they were new). 4) I can't stress that enough. lack of experience, it is his first job, something happens on set, people see you differently and some how more sympathetic if they know you are just trying to braking in - and you get 200€ - thatn youbhave advertised yourself like - I do it all for 600€- type of guy. It takes one person being on set half a dozen times to realise one is inexperienced, and that is not a good thing. Imagine people being in the industry for decades, you can loose face, and future jobs just like that.

I am still playing cos I am still just passing the time but I wonder which of the regulars "you" are? Oh and samples showing how that 28mm lens (or is it 21 now?) replaces those other lenses since I need to learn. My apologies for suggesting you ask your mum. Maybe it should be your treating Physician?

Damn, I bought the contact zeiss 28mm which was only a few hours ago “all I need...”

First batch babies are getting ready for shipping.

They called you, so they like your work. That is very positive, Show them some of your best videos, be optimistic and positive, but not over do it. Stay humble, but confident with your art and technic. Pricing can be tricky. Ask them what they want you to do (make a few questions), and you can ask them what is the budget, which is not a joke, as everything has a budget, and maybe additional people or equipment is needed. prepare a few scenarios with your price, if that makes you feel better. Good luck!

Dude, the resolution in 4K of the D850 is as good as the 1D X Mark II / 1D C... https://***URL removed***/reviews/image-comparison/fullscreen?attr29_0=nikon_d850&attr29_1=canon_eos1dxii&attr72_0=4k&attr72_1=c4k&normalization=full&widget=555&x=-0.585179526355997&y=0.08446496469310162 What's not to like. I don't tend to quibble over small resolution differences at 4K on charts anyway....Why? At this level, resolution is already so more than you really need even for cinema screenings, yes, and even in 2017. I don't care whether it is effectively 4K or 3.8K or even 3K. At 1080p, I can quibble all I like! (Oh and 1080 on the D850 is superb by the way). The D850's 4K resolution is nothing to be sniffed at. There's some purple false colour on the D850 chart (like ALL the other Nikon cameras, funnily enough) but the actual level of detail and especially real-world detail is a match to the 1D C. Yet on the Nikon you are getting more for your money and fixing the lovely 1D C's biggest downsides (lack of articulated screen and unworkably large file sizes). The colour and white balance are superb and the image pipeline, processing and codec are top notch, as good looking as the Canon. You're getting a smaller form factor, lighter body, better stills, articulated screen, cheaper price and 4K file sizes that are actually practical... The 1D X Mark II only has two advantages and certainly not the codec - it is less rolling shutter and of course Dual Pixel AF yet films have been shot with manual focus since the start to the present day and there's a reason for that. AF still isn't bullet proof or organic looking enough... It's nice to have, it's practical and convenient for run & gun, but it isn't cinema and you don't actually need it for most cinematography. What's more you need to put chart tests into context. If there's some purple false colour on very fine black and white circles and lines at DPReview, but these things never occur outside of charts, then what is more important is that A) it looks nice when you point it at REAL STUFF and B) it does 4K from an 8K sensor!! - a huge technical achievement and gives you the benefit of 46MP stills, which the Sony A9 and 1D C simply cannot compete with. Then there is the Nikon flat profile and colour science, which is superior to Sony, and even superior to Canon in terms of some subjects. A9 does not have a C-LOG-like profile nor can you add one. No S-LOG. No EOSHD Pro Color. Just the standard crap Sony colour. The codec is also very good on the D850... Higher bitrate than the Sonys and cleaner shadows, smoother to edit and better looking grain. There is also the fact that low light performance is excellent considering the 46MP count sensor and superior ergonomics to all the Sony cameras, superior to the A99 II as well, which I actually liked more than the A9. The D850 is a much better stills camera than both of them. Oh and it is full frame... So that look, in the real world, trumps anything minor that appears on a fucking chart.

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.

Atleast consider what you need to do the work into the equation. Your camera wasn't free when you bought it, and it would probably cost you to rent if you didn't have one. Storage and an editing pc isn't free either. Neither is travel, royalty free music, lunch, software, etc... You'd also want to charge some for future investments too. How are you going to afford, say, a new lens through work if you spend all your money working? You'll quickly find these things really add up... This they should atleast cover! If you're doing it for free you're practically throwing away your hard earned money & devaluing video work in your area, which in my opinion is totally unacceptable.

Great, so I take it you will show how to do it? I look forward to learn from you and obviously you will only use your Canon 5diii and 28 f2 Zeiss. That is a full band shot from next to the stage with at least six musicians all visible and in focus. That wasn't high ISO in my book (it is only ISO 10,000) and was a jpeg as taken and no it is with a Canon 17 TS-E There was nowhere else I could move for the framing though of course, you will now provide that 28 f2 shot to prove me wrong? No?

In this case I have to disagree... Not only is Spain the fastest growing economy in the EU -after a long and hard economic downturn- but also not every field is the same in every country. Filmmaking/advertising is big and with high rates in certain "not-so-developed" countries; for example, Czech Republic is full of qualified professionals working in international productions making a lot more than the average salary. In some countries, being a small producer or cameraman is a well paid job and in others not so much... Here -Spain- 1000€ does not get you an experienced DP with Amira, lights, etc. Here, 1200€ gets you a nice DP -not top nor novice- without any gear, and hiring such a DP "mandatorily" involves renting a high end camera, lenses, lights and at least a couple of grips... Spain is not a super booming market in terms of filmmaking such as the UK or France, but it is ahead of most European countries and so are the rates -even if the median salary is lower-. I'd never work for free unless the project really meant advancing in my career -and when you find such a project, normally it is well budgeted and everyone gets paid-; unpaid work spoils a certain type of client -the scum of the earth- who actually believe they can get that stuff for free. Once you have a portfolio, they are not going to pay you, either; they will keep offering you to work for free and if you decline they will look for someone younger/less experienced/probably worse that will agree to do it for free. In my experience those clients do not appreciate what you do and don't take you seriously. It doesn't matter if you are 21 and inexperienced, you should get paid according to your skills and what you bring to the table; after all your video is going to help them make a profit in some way. Really, if at least they had offered a 100€ flat rate per job they would've shown respect. If you can't afford it, don't buy it; just like you don't try to buy a Red Weapon and offer 500 € you should not conceive hiring somenone for free. The fact that there are "specialists from the 90's" competing in the same market with kids form bad private media schools -which is true- just broadens that market. Not so long ago a commercial or a corporate video was something that only medium sized or large companies could afford. It was hard to make a corporate video for less than 7000-8000 € and a commercial was minimum triple that amount. Now there are many more products accessible to more companies with faster production and adjusted to the needs of each client. That doesn't mean there's no room for the novice -quite the opposite-, and there are "salary slots" depending on the job, but "for free" should never be one. Here 500 € for a job is not much, it could be an acceptable rate for somenone starting out -keep in mind that every job requires pre-production and post-production-, especially because it is very unlikely that you work every day and you'll have to survive on a couple jobs a month in the beginning.

There's some funny info in this thread. Shotguns are perfectly fine indoors. I've used the Rode NTG4 in almost every shape and size room you can imagine. Even solid walls or window walls. The results are more than acceptable every time. If you'r shooting in a room where a shotgun simply doesn't work, then you'll be hard pressed to find any mic that will. That said, of course there are alternatives, and many are better in certain situations, but to rule them out like that is kind of silly. I film TV interviews for a living, and have used many different lavs. I will always chose a mic on a pole if the option is there. They don't take long to set up and make it near impossible for the talent's hair/necklace/zips/itches to effect the audio. Of course, that can also be avoided with mic placement, but a stand can go in the same place every time, and nail it every time. EDIT: you can also have everything set up, so the talent can come in, sit down and go, without having to be wired up first and remember not to take the mic with them on the way out. You also don't need to worry about charging extra batteries etc. because they just take power from your camera/recorder. On that note though, if you do decide to go shotgun route, maybe look at the Rode NTG2 - I know it's old, but it can run on an AA battery OR phantom power. If you use it with a battery, you can run it straight into your 5D3 and avoid having to sync anything later.

Hypercardioid condensers are neat for this application, but also very sensitive to sibilances which gets you really close to your subject. Which you may or may not want. Obviously a condenser mic will always sound better, but they are not gentle when the subject turns their head against the mic. A lav would be safer because of their omnidirectional pattern meaning the sound won't change as much when not faced directly towards the sound source. Also lavs are way more flexible, and take very little time to set up, especially when moving around, and a lot easier to carry around than a big mic stand on smaller projects. Especially if you're on a budget (EDIT: and will use the equipment for future projects, wireless lavs are deffo not that cheap!) a lav is the way to go. I like the Sennheiser AVX system because of the rugged antenna, but the g3 has the advantage of being able to use AA batteries. my 2 cents Edit: come to think of it, you can get lav mics with standard jack cables for cheap if you don't need the wireless transmitters/receivers, if you really want to budget.

200 seems too low IMHO, unless you are an intern, a non-pro doing a favor or a reduced day rate based on the amount of days hired. I live and work in Madrid and 200 would be ok if you get hired several days a week every week... Anyway, just like everywhere else, it depends on the distribution and the scale of the job -in this case, I suppose it is mainly internal or web use-, your skills/experience -although knowing how much others clients pay for your talent is only useful to you and measure the value of your time-, and the gear used. It shouldn't be like that but the rates are different if you are using proper lights and lenses on an FS7/C300 than if it's just you with a 5D and an on-camera light, regardless of your talent and the result. If it's just you with your camera, don't go below 500€/day... and try to get something extra for an assistant.

Did you try to adjust the diopter, wheel on the right side of EVF?

@Drew Allegre they are only 30-30μW (or is it Volt?!), while in Europe the limit is 50, and some pro devices can go up to 100. Their range is terrible -in my opinion - but all the rest are good, even the included lav mic is ok. If they were 50, they would be just amazing, now they are really good. I do not know, or understand feet.

For indoor a shotgun mic is a no go. Do a little research. There are a few options, I am split between an Audix scx1 Hyper Cardioid and a Neumann MT185 myself. If you put a mic on a stand, the Oktava 012 with the hyper cardioid capsule can be your cheapest bet, but I would strongly advice for one of the above. Sony wireless system is quite good. If you up the game with a better capsule then it can be really great. I use both a hyper cardiod and a wireless lav on such interviews.

I use what I find right for the task at hand ISO 12800 is sometimes not enough if I went to shoot at night and especially if you want to use a slower aperture at night or a faster shutter speed (ask your mum if you can stay up tonight and see). A 28mm lens alone isn't going to cut it when I want 300 2.8 or tilt shift or macro or to fit in a six or seven piece rock band and have them all in shot or a more blurred background or head/shoulders portrait or..

If you have the V2 crane also, I'd love to know how they compare. Especially things like difference in weight etc.. Thanks!

That was a great way to spend 15 spare minutes! Really a pleasure and relaxing after a long day with much work! Wonderful video

It has 60p raw?? I missed that. How stable is it? How long does it run for?

Ffs not another fanboy thread!

no

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.

The Cinegon is a single coated 36 as well

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

Love the EX1, totally agree with @PannySVHS. I think in AUS we sold one we had for years, for $1500 inc media and batteries. I would still be happy to use that on a job. Nice image and robust body, the only issue is the USB daughterboard that we had to keep replacing, it wasn't a particularly solid part. Massive zoom range though, and nice image, with SDI and all the other niceties that go with a pro body. MPEG2 encoder is a bit of a pain compared to something more modern, but nothing unworkable. If you find a bargain EX3 you might be even better off, you can get a b4 adapter so you can put whatever lenses you want on there!

"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

Ok, here you go, 11-16mm tokina lens at 11mm, and several options: 6K anamorphic 24p 4992x3744 - stabilizer off - stabilizer ‘hand’ C4K all-i 24p 4096x2160 - stabilizer off - stabilizer ‘hand’ - stabilizer ‘hand’ + e-stabilization (video) 4K all-i 24p 3840x2160 - stabilizer off - stabilizer ‘hand’ - stabilizer ‘hand’ + e-stabilization (video) https://youtu.be/Al-FkHgO6Ik How do I make it show the player? Ah..

If you want shallow DOF and a vintage look on stuff out of a cheap 3ccd, you can always just pick up an old Letus35 lens adapter. Seriously. Man, that'll take the edge off, give you nice motion cadence, and look cool doing it. Goofy way to go, but it works. What you're alluding to is a real and interesting dilemma. With even consumer cameras/lenses looking pristine and wonderful, and everyone has 'em, what does one do to differentiate --but still have something that looks nice? Personally, I absolutely want my IQ to have flaws. It fits the sorts of stories I like to tell. Ramshackle and shabby a little, but still well crafted. Slight chroma aberration on the edges of frame? A smidge of ignetting? Check and check. I want the viewer to sense that what they're watching is not "normal." Thank goodness for the legacy flaws of 24fps! Now, when I do corporate stuff, I slap on my OlyPro lenses @f4 and 60fps. Otherwise, let's keep other stories in visual dream-land.

@PannySVHS nice image! Probably too nice Again, I'm just thinking if it's the appeal of that ccd camcorder image being inherently nice, like a film stock - that's so cool because it's the opposite of what all current cameras are trying to do, look "perfect". And they all fall a little short. You might as well go all in and allow low resolution, aliasing, etc. maybe even recording to tapes for the fun of the workflow You're not falling short of perfection if THIS is your camera -- But I understand your interest and can stop talking on this point since it's probably not helpful

If it still works good, and produces ok images, then most people still use them and do not want to sell for cheap. EX1 is one of my favorite camcorders of all time, certainly my favorite Sony ever. But, All the markings were erased the first couple of months with limited use. the recording media back then were extremely expensive (then you could use adapters though) With today's standards the image falls apart very easily, not easy to mix it up with any other camera I have a lot of issues with LEDs on performances, shows etc It was once a great camera, 6 months ago it was the last time I used it, now it is in my video partners basement, and I am not taking it back for any reason. I now have 4 NX cameras, and when I do a multi camera live performance, all my cameras are close (we add a JVC Ls300 and GH5 if we need more, their sensors are a lot closer).

I use the Speedbooster XL on the Tokina 11-16 APS-C...hand held with IBIS on, I get zero Vignetting and it gets me down to 7.4mm at f1.8, so very fast and very wide!...I did consider the PL 8-18 for a bit, but I find 12 mm already wide on the GH5 (I own the PL 12-60), so for the rare occasion I need wider, I already owned the Tokina and it's 1 1/3 stops faster....I remember previous discussions, re the XL or Ultra SB, on APS-C lenses, though at the time, I felt it was easy enough to do a small crop in post and the wider FOV and extra 1/3 stop was significant with the XL...also no issues with the Sigma 18-35...these lenses are Nikon mount and on a tripod the results are the same...I had initially thought it might be an issue with handheld, but there's none.

Meanwhile, in the real world: (All full frame. Flat profile. Sharpness on zero)

Aputure Dec Canon lens control is not autofocus but this is better of Metabones Speedbooster for who use the Samsung NX1 camera to shoot video. It's nice control the lens with grip, in wifi you can control the lens with camera on the drone or on the crane. The price it's the same and if you want you can buy the Aputure Dec after new or used and assembly it yourself. The system it's made for reassembly the Aputure Dec like original. In this time it's a prototype but the work it's in the end road. I can't make more. this is the max I can make for take to live this spectacular camera. Thank's.

@IronFilm, I dare you to post a link without your own awesome opinion about it It's just so much more fun with you guys' opinions and comments. So much more to learn from and to enjoy. Imagine an Andrew Reid article consisting of links only. No fun, right? But nice post and link anyway. Extrashot is becoming a favorite of mine.