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Ampliscope Hypergonar with a single focus adapter, Belomo Vega enlarger as taking lens with an heliopan VND on 5D3 with ML.An improvised test to share with you the character of this anamorphic lens as I haven't found much on internet, forgive the wrong camera frames and shaky movements as the missed focus.

Gave it a try over the weekend. Works surprisingly well. 4K 24fps shutter 1/50 NX1 50-200 OIS III AF:

For shooting a single person indoors, your lav and H1 are probably your best bet. Do a little research on the best ways to place and hide a lav, and you can pretty easily get good results. I've done it with my $35 Audio-Technica 3.5mm lav mic and an H1. You could also supplement this with a boomed mic. I have the Video Micro and can add to the applause for it, for the price it's kind of a no-brainer for an affordable small shotgun-ish mic. Get a cheap boom arm or dedicated boompole, and a 3.5mm extension cord, and run it into your camera. You won't be able to monitor it from the a6300, but you can at least set the general level. Good enough to mix in some room tone/ambiance, or for an emergency backup track.

Full marks for throwing a Kenneth Branagh reference in there Thanks again for the explanation. I am really focused on "quick and dirty" and it sounds like it might be the ticket.

Okay let me clarify. With the RX10ii, If shooting a dialogue scene, I would use the audio from a close up with the Rode Video Micro. With an extension cable and a boom pole, I still would. Will it be good as a balanced XLR mic plugged into a 4 track mixer and boomed by an experience operator... no. It is only $59.99. Plugged into an H1 to get some foley, I would use it. Plugged into an H1 and placed right out of frame of the talent or speaker, I would use it. Micing Kenneth Branagh performing Shakespeare, I’d spend a little more.

At work we use NTG2 which is not expensive if bought 2nd hand ($150?), we connect to Zoom H6 or to the XLR port on the C100MKII or on the GH5's XLR Adapter. I think Sony also have their XLR adapter for the Sony alpha camera?

Yeah I had VideoMicro for more than 1 year and it done the job pretty well, the sound quality and size is nice for the budget! but for interviews i only use wireless lapel or proper shotgun mic on boom stand, the audio quality difference is very big ! Unless you are up and close with the interviewee which means the mic is not too far off from the speaker

I have been using the VideoMicro since it came out and I am very happy with it. If you plan to boom it and have it close to the sound source it will work great.

If you notice a lot of 1 star review on amazon is because they use it on the freaking phone that why.

But I also love the size and the fact that it comes with a deadcat. I’ve used it plugged directly into a 5D3 as a scratch track. I’ve used it plugged directly into an RX10ii and I’ve used it plugged into an Olympus field recorder for wav recordings... sounded the best in the Olympus but not bad at all in the RX10ii... practically useable. In the field recorder it was definitely usable especially with close up audio.

It has a nice full sound. I wouldn’t call it a shotgun but it does seem to have a pick up pattern that biases the front. Definitely not the best but I found it as good if not better than the Rode video mic pro... especially for the price.

I personally love the Rode Video Micro. For the price and size and included accessories, I don’t think it can be beat.

Excellent. Thanks. Having that flag is really useful to confirm what one is seeing.

This kind of reminds me of comparisons between 5D3 H264 and externally recorded ProRes. People would post Youtube videos and look for minute differences in IQ when it should have been fairly obvious that the most significant advantages of recording externally to ProRes were seen in workflow and processing. Of course, it seems like today's NLEs/CPUs are much more capable of working with long GOP footage than they were a few years ago.

If you are a solo shooter and not doing fiction work, honestly, get a camera with video autofocus, like a canon c300 or c100 mk2/c200/Canon XC10, or a sony a7r2. Some people will make fun of you or won t understand, but at the end of the day you will get a lot more usable shoots and a lot less stress.( and if you plan to use a gimbals, it is very helpful) Get a small B-camera, and good quality batteries ( I fried a camera on the first 10 second of a paid job once, I wish I had a B cam that day) like a Canon XC10 /a6500 Also try to stay as compact as possible, just buy what you need, and fast zoom are a good idea, like the sigmas, you will never have enough light, and time so you want flexibility over fancy equipment. Lightweight equipement is a bit more expensive, but totally worth it if you are a solo shooter, you can get compact rigs/sliders from edelkrone for example . I went all fancy with a blackmagic 4.6k and vintage/modern cine glass, but today I almost exclusively shoot with a a7r2 and two photo primes, because of the auto focus and the compactness.

Yes, I own that setup and have used it for about a year. I am working on a long form project, but have done a few random freelance jobs with the setup. I some b-roll here. The first 15 and last 15 seconds have some examples. There is one flaw. The bottom line of pixels flickers in 60p. You have to zoom in to 100.5 to remove it. Other than that, the 60p is not much different than the C300ii in 60p.

Hey Ricardo! Really nice camera work, exellent job on that! The music, it sounds a bit like the music you hear in this kind of videos a lot. So it sounded it bit cliché like in many webdoc videos:) But! We should start the Super 8bit Challenge thread and post it as a challenge with certain rules. Give it its own thread. For my taste that would be fiction shortfilms, to begin with. Also, @mercer and @mat33, these guys should be involved in setting up the challenge, cuz it was their idea and energy. Anyway, back to your video. Great camera work, superbly done. Some nerd talk: for natural profile, give contrast 0 a try:) Gives even greater tonality for post work, not worrying about pseudodetail in shadows and highlights of the REC709 curve. This is from my experience and from some others in this forum, having started with -5, then going to -2, then settling for 0 for contrast.

Here's a video (not typical of those usually posted here) that could NOT be shot with the GH5, at all - AF and vari-speed power parfocal zoom were essential to capture the unpredictable and constantly moving subjects, which are the hallmark of the event. No Panasonic has sufficient AF capability to quickly lock on to subjects and maintain focus, and no Panasonic zoom lenses are both powered and parfocal (I have a very complete set of Panasonic mirrorless cameras and lenses). Zooming while shooting is, again, essential for sports or any moving action, and zooms must be smooth and not lose focus. The PDAF of the A6500 is very effective. Now, I would have loved to have 4K 60P... The lens: the Sony 18-105mm G.

An extensive review of the EVA1 by Newsshooter... http://www.newsshooter.com/2017/11/01/panasonic-au-eva1-hands-on-review/ As color rendition is a top priority for me, I was happy to read Matt's assessment: "In my personal view (feel free to disagree with me in the comments!) the EVA1 has the most accurate colour rendition of any of the sub $10K cameras that are out there. The colours are very reminiscent of the Varicam LT and you would struggle to tell the two apart." Camera's not without its flaws but I expect I'll be pretty happy with it. Here's a short doc Matt shot with it.

I picked up an Octava Mk-012 on ebay (and yes, I researched the Chinese fakes). It was supposed to be the "movie" kit with a hyper, but it came with a cardioid. Still sounds pretty damn good to me in my tiny little 8x10 room that I call my office. But I'm going to send it back or sell it, because I found another one on ebay with all three capsules for $200, and I had to jump on that. Should have it by next week. So, my audio kit has gone from basically an H4n and whatever I can borrow to a Zoom F4, UWP-D11 kit, and the Mk-012. Total expenses including cables, a decent pair of headphones, and a few odds and ends = $1300. I'm confident that this project is going to sound significantly better than it would have with an H4n and AT875r. Thank you folks! The back and forth has actually been helpful. Lots of things to consider from a lot of different perspectives.

Some of the best pictures I've "captured" have actually been stills from 4K. My usual process is to take them right out of Final Cut Pro, using the "export frame" setting...As far as coloring goes, the pic comes out with whatever LUT I have on the footage (not usually a bad thing).

Hi, everyone, and thanks for contributing to help me solve my issue. I talked to Atomos today, and after a bit of back and forth the guy asked me to check my HDMI cable--and see if it worked for 4k. Now this seemed futile to me, because I KNEW it did. But I pulled out my XC15 Canon to test the cable and BOOM, the Shogun was recording 4k like a top!! Back to the Sony--Bupkis. But I did recall I had another micro HDMI cable, so,..... just for laughs I decided to try it--and BLAM!!! The Shogun screen lit up with the Sony 4 K and I was recording on SSDs. So, here's the deal. Just because a mini or micro HDMI feeds 4k into your external recorder for one camera or brand of camera does not mean it will feed 4 k into another. Capisce?!? Try to remember this...because it will be on the test.

Sony FS5/FS700 in burst mode 12bit RAW->ProRes 422 HQ 10bit 4K DCI 120 fps no crop gives best quality, but you need an external recorder. Burst mode limits mostly not an issue if interested in slow motion, since that translates to 16 seconds or so of slow mo (enough to get to the boring threshold). This is a constraint. But this is about quality. This test video has both 4K 60P and 120P shots (slowed down), to compare quality:

I think the v-log footage you shared grades quite nicely...

I see the HDR is too new for most. I think most wifes can see the difference between SDR and HDR.

So... I'm in The Netherlands visiting my parents... they've got a new Samsung UHD HDR tv. The screen was absolutely awful to look at. Factory settings of course. Full brightness. Full contrast. Samsung colors... way too vivid, Chernobyl Barbie skintones, things blown out and crushed down... So, I went into the settings, changed it from Dynamic or whatevs to HDR, just curious what it would do, went to expert settings, changed things around so that it would actually look good, natural and not as eye straining as it had been before. My dad: 'ah, ok, sure, I guess... whatever'. Mom comes in after work 'what the hell happened to the tv?', I'm expecting her to be struck by the newfound beauty and quality of the screen... 'it's like I'm looking through a frosted milkbottle, it's horrible'. Wow... they're completely ruined by watching crap (bright, vivid, blown, crushed) all the time (same people that don't dim their phones at night). Not only don't they know any better, they do not even want any better. I'm baffled and ashamed to be quite honest.

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