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I often see this "low light" thing coming up with regards to Ursa 4.6K.... Some of my favourite frames from the Ursa 4.6K, including some low light shots. Most of the car interiors are lit available light with a single matchstick and some cyan outside on the windscreen. These are frames I've take from dallies on a series called Queen Of The South. There are graded in CDL (no kets or secondaries) and no noise reduction. I've also included some before and after frames of a scene in the first episode in the series where we ended up shooting well after sunset with no lighting. Again, no NR. JB I would add, I own a 7q and a 7q+. I couldn’t think of anything worse as an operator than having to rely on an external recorder that you have to power and cable reliably. It will get in the way, especially for hand held. JB

I think that people rag on these cameras because they'd never be comfortable not seeing every detail in the shadows. "Crushed blacks. I see CRUSHED BLACKS" is all they'd say. Noam Kroll has an interesting article "How dynamic range is killing your images" or something like that. People get obsessed with preserving highlights and shadows at the expense of a creative image.

@IronFilm wish I was 19, best age ever!! unfortunately in a small country with huge financial difficulties there aren't so many well paid jobs. e.g I see a lot of people working in modeling videos and real estate, which do not exist all in my country, no one is doing this professionally in the sense that happens in other countries. So 2 sources of income less! Reality is different between most of us, this is one world, but is based in un-equality!

Sony UWP-D11 is the best "no budget" wireless. Get an OST Lav mic as the next upgrade from it. Shotguns are a big no no no for indoors! (With rare exceptions) As a soundie, to be hearing people say a shotgun is a good choice is probably how a videographer feels when he reads people recommending using your iPhone to film with! lol (Just because lots of people use iPhones to film with, & are happy with the subpar results, doesn't mean we should be recommending that!) Rather use a cheapie Samson C02 than say a RODE NTG2 Then if you're shooting it solo then get a C stand and boombuddy for your boom mic. Zoom H4n is a pretty horrendous recorder for production location sound. I'd upgrade that if you can: http://ironfilm.co.nz/which-sound-recorder-to-buy-a-guide-to-various-indie-priced-sound-recorders-in-2017/

When not challenged by very high DR, I prefer Standard. But, what do I know?

#2, I'm a whore.

I can tell, most people here are camera operators. Shotgun mics work alright in very well treated rooms, or studios. If you want to spend an hour, and have the right sound blankets with you and the tripods and gear, and the space, to treat the room right, or change location in then be my guest. In any way it is much easier to use a more appropriate tool for the job. If you own just one long tele zoom, then it is ok, use a shotgun mic everywhere. I am not going to discuss Rode microphones, but the specific ones mentioned in this thread, wouldn't be on top of any of my lists. Canon dSLRs have notoriously bad mic amps. Whatever you put straight there (except some with good in built amps) wouldn't be broadcast quality. @Drew Allegre if you can rent, Sennheiser MKH 50 is one of the best, ever. Others prefer Schoeps, for me, if you do not do much post in sound, then Sennheiser can be a better bet. Reliable, very hot (signal wise, so you can avoid bad mic amps some) and tough as nails, too. For just little money you can rent one of the top 3 indoors microphone one can use, just put that on perspective with your imaging gear. Just my 2 cents.

Soooo here’s my experience. I actually own the gratical but I don’t like using it with the 1DC. I bought a loop for the screen and it’s SO much better. You can have a rode mic on screen and the way you hold the camera along with holding the lens for focus. So I recommend the focus monitor, and the Zacuto Z Finder type of thing. I bought a cheap off brand one and it works well. Side note, I haven’t seen anyone really talk about this camera much recently. It was a forgotten camera really. Much like the Digital Bolex. Would you or anyone else on this forum like to see a thorough 1DC review/ tutorial?

You already own a camera that shoots 12 stops of dynamic range, but you are offered, gratis, to use a premiere industry camera that shoots 16 stops of dynamic range. With the first camera you have the real potential to capture a compelling story that makes your audience laugh, cry, and empathize with a subject they never imagined they would care about. You get paid nothing. With the second camera your job is to shoot a corporate speaker delivering a powerpoint about 3rd quarter margin calls. You would make $2K for the day. Both situations are happening simultaneously. In which scenario would you decide to work?

Today I played around with the video in the D500 for ten minutes while waiting on a train. I only had a 75mm equivalent and no ND so the footage isn't very fun. The frames are HD so not as knife sharp as the 4K would be. Just wanted something to play with in color finale. There really is room for pretty much any creative look but without taking up any space worth mentioning on the card. These are all just quick adjustments, 2min on each, max. You have to click twice for full resolution, otherwise they will look even softer. Straight from camera Quick adjustment in FCPX using the regular color tool. Random LUT and intentional crushed blacks using the three way color corrector. Quick vintage with Fuji LUT and slight crush of shadows using the three way.

I have an AF100 and like it a lot. It's my go to camera for events where I just need the most reliable camera with low recording media and battery needs. You basically plug a Mic, an SD card and two batteries and you're good for an entire day of shooting. That said, the image can be great, but you have to be very careful with you exposure and white balance. The DR of this camera is around 10-11 stops, and the codec is weak. You can plug an Atomos samurai and get better recording codec though. But you won't get the possibility to do so much in post (you just get 4:2:2 All-I instead of 4:2:0 AVCHD). The image you get is a bit soft, but you can still add a good amount of sharpness in post without destroying the image. I got mine 2 years ago for 1300€ including a 7-14mm and 14-140mm. I think it is still a great all in one solution for the price, even to this day. Here is one of the videos I shot, in poor lighting conditions, for a night event with the AF100. I was using Minolta MD glass.

If you have a decent grip plus lighting crew, then it hardly is any worse than shooting with an original RED One! :-P

A lot of current screenwriting suffers from too much exposition and not enough spectacle. It was exactly the case again here. Which is perhaps why I feel so cold emotionally to it. SPOILER ALERT... - When your replicant lover is recreated, it's never going to be the same as the original. - Yes, they did try a different look and cinematic language this time out, but like in Arrival which has a very similar tone, I'm sorry but it leaves me cold. - Tarkovsky did a similar slowly paced style far better with more spectacle and less talky talky - It's not a bad film, it's a very good one but it's highly hyped and overrated by the critics and not a patch on the original in any area apart from Roger Deakins

It's a 2012 camera but it was a $12,000 2012 camera, which is why it's still better in many ways than what Canon give you for $3500 today. The technology hasn't moved on that much anyway. 1D X (1D C) and 1D X Mark II stills quality are almost identical. 5D Mark IV is just a higher megapixel count... but worse in low light. The 1D C is not old, or past it, in any way.

The M3 (cardioid) option might work well enough if you can find a quiet environment. The environment needs to be quiet since a cardioid will pick up a lot more background sound than a shotgun or hypercardioid. The indoor cardioid option can also work ok if you have two people sitting side by side for an interview as you can place the microphone between the two of them and it will pick up both pretty well. This can simplify the setup. I've used cardioid microphones for voiceover and for side-by-side interviews and they can sound good. Again, however, they are very prone to picking up unwanted sounds. Wearing decent closed-back headphones to hear exactly what is being picked up is important here as background noise can be pretty distracting and very difficult or impossible to remove once there. The analogy with lenses pointed out by Kisaha is apt - having a few options is always helpful, sometimes necessary.

Just to throw another affordable option out there, I used this Shure not too long ago. It was set-up 24 to 36 inches from the actress and, without being an "audio guy" at all, I was very pleased with the low self-noise and sensitivity. https://www.amazon.com/gp/product/B0002H0HCC/ref=oh_aui_search_detailpage?ie=UTF8&psc=1

I just paid for my V-log option. The features of the camera warrant keeping it for sure. This is what Panasonic said about not putting V-log into the GH5. “Panasonic: For [typical] customers, V-Log L [is] too difficult, actually. V-Log L [is especially intended] for cinema people, [as] they like a very flat tone curve. For normal people and broadcasters, I think this function is not so interesting, and if we put V-log into [the cameras] without any charge, in that case it’s a little bit difficult to explain how to use [it].” Anyway, I'll have my V-log.

@mercer Thanks very much - I guess I should have posted the trailer here rather than another area. I used a full set of Zeiss ZF primes with 1/4BPM for the interiors and then mostly the Asahi Takumar primes for the exteriors, along with the Canon EF 35mm/f2 IS and the Canon 24-105mm/f4 IS as they were moving shots and I needed the IS as I was literally handheld or a fig rig. For Takumar's I have: 28mm/f3.5, 35mm/f2, 35mm/f3.5, 55mm/f2, 85mm/f1.9, 105mm/f2.8 and 135mm/f3.5. The 35/f2 is not bad, not the sharpest out of the bunch and flares/veils easily but I'm ok with that as it's great for taking the harsh digital edge off most digital cameras. I HIGHLY recommend the 85mm/f1.9 as it is extremely sharp at almost all apertures. Here's a shot taken with my Nikon Df at a f4 or 5.6 and a circular polarizer in a burnt forest, and another completely unfiltered at about the same aperture no post sharpening in either and I have to use a shitty adapter with a piece of glass in it to get infinity focus on Nikon too. I'm not a fan of Takumar's in low light or night shooting though even with a 5DmkIII and Raw, your milage might vary but I find they just don't provide enough info to make a good image - switching to Zeiss or Sigma/Canon etc. is a better option for that. Again your milage might vary depending on your scene. I tested the wazoo out of everything prior to making my short at all my locations, lenses, times of day just to see what would work, how everything would grade and then fall apart, is this 5D going to melt, malfunction etc. It all worked great and this was back in the day when you had to reload the Raw modules onto the camera every time you turned the camera on.

Beautiful! Is this Standard SOOC? I really dig the colors/look of this one. Is it standard, too? You and Kidz have me seriously thinking about a 6500.

@EmanuelI did not keep my test...also I only tested in 16x9, but lastly and perhaps most importantly, I really do not move a camera much...so I used IBIS instead of a tripod...I would only ever pan if I was following an actor...and strictly narrative, so for my purposes the XL is a no brainer....an extra 1/3 stop...huge if you're looking at the difference above 3200iso and the widest FOV...I can always crop a little in post if need be, and still have the extra speed from the XL over the Ultra...I posted this in another thread on the 2 speedboosters.

@Kelly looks great. Love that last shot. What lens(es) did you use? And do you have a link to the trailer? Edit: sorry saw you posted the trailer in the other section. I look forward to seeing it. What Takumar lenses do you have? I just picked up a 35mm f2 for a song. And I am searching for a good priced 85mm 1.8 because I’ve heard such great things.

Oh no it doesn’t go on the focus monitor. The Zacuto z finder goes on the camera LCD the kinotechnik LCDVF3C is the best deal and best quality. https://www.bhphotovideo.com/c/product/887720-REG

Fair enough. I don't think anyone gets into this industry for the money. But I wouldn't even care which camera I used. $2k/day is quite good for corporate work.

Hi everybody - great posts on here. Long time reader and first time poster. I wrote/directed a short film shot with the 5DmkIII+ML Raw, just in 1080p as the 4k hack wasn't available at the time. Here are some screen shots. Teaser trailer on Vimeo now and entire short will be released in about a week.

Hallo Dee Joslin, why not sell the GH5 and buy the AX700, since your preferences are clear. I think you are super duper wrong about 10bit not showing its advantage. The 8bit SLOG on Sony cams, even on FS700 without update, breaks apart easily. GH5 has awesome autofocus for photos. As a super exiting camera tool for the making of fiction films, autofocus is not even desired. This camera talks cinema. I shot this camera at 8bit 1080p REC709 and it gives astonishing results, C300 Mark I quality in a moderatley lit enviroment.

The D850 is very closely matched to the Samsung NX1 in 4K for detail. D850: NX1: I have no worries over the sub-sampling. How else were they to get 4K off a 46MP full frame sensor? 8.2K readout?! Imagine the rolling shutter on that!

Ursa Mini Pro

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.

Thanks Mick! I am in contact with Colin from the Edit ready company...

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.

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.

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.

only two pictures with the NXL adapter. Taking lens is the Mamiya 55 f1.4 lens. Anamorphic lens Bolex 16/32/1.5x and Rectilux HCDNA for focussing. Soon a new short film with this combo. Screenshots, taken wide open.

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..

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..

I hope the GH5 pressures them to offer 4:2:2 10 bit. I made a promise to myself that I'd never buy another 8bit video camera after my NX1.

Totally forgot to add the 'T' in there.

Mauri's fully assembled lens package with customized engraving. Check out Mauri's amazing work at: http://www.mauridgaliano.es/