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The imo best Youtube channel about filmmaking there ever was just unboxed a c200. Im happy for John.

@markr041 I personally thank you for pioneering. I can't monitor HDR right now, but it's good to know about the intricacies beforehand. You took the effort and tested it, that's awesome! @maxotics Very interesting read. I absorp every word and read your posts several times in order not to miss something. @jonpais You always find the right words and explain very well. What I like most about your postings are your excellent videos that show your good taste and commitment to beauty. I am glad I started this thread. Invaluable information, great forum. Thumbs up for all.

Hey guys, So 2 years ago I filmed a documentary about myself filming at a film festival in France, using my trusty Canon XF100. I then quickly forgot about the footage because I bought a new camera and wanted to edit with that footage instead of going back to the XF. - Bad planning on my part, but better late than never I guess. Recently I found I had some spare time on my hands so decided to actually do something with this film, and here is the result. I'd love some feedback! Is it too long? Does it give enough info? What's missing? Is it even interesting? Disclaimer: I've never spent anytime in front of a camera, so that was a novel experience for me. enjoy! I planned, wrote, presented, filmed, audio-ed, edited and voiceover-ed the whole piece. In fact the only thing that not me is the music... but I did chose it. The watermarked clips, while shot by me, were for another company. Thankfully, they've kindly let me use that footage with the watermark. Please, don't hold anything back.

Wow thanks Dave, great to hear! I loved my XF100, even with it's limitations and the size is so easy to carry around. If fit in the bag I had in this film snuggly next to the big camera and barely added any weight. There's still a few things I'd like to tidy up about it though, one of the shots outside the very grand building when I"m talking about b-roll is very dark for some reason, so while I"m fixing that, and some audio issues, I'm going to trim some of the fat. I'll post the new version here when I get around to it.. Hopefully sometime this week.

In the end, we are a couple of years away from being there, but my impression is that we will, and HDR is here to stay, and for a few good reasons. I salute the pioneers!

Mine was getting erratic, then it bricked. By erratic I would have to turn it off, take out the battery, then turn it back on. I was hoping it was just the battery so I popped 160 bucks for a new one, but that worked one time. Then I sent it into Canon. I figured it would be around 750, so I was close. The problem with Canon is they have lost their sense of pride. Granted, paying for a repair is par for the course, but when it came back the viewfinder wasn't cleaned, if anything, there was more junk in it. And, dust on the sensor. There is always dust, but, well, for almost a grand, you expect a little bit more from a company like Canon.

If it's the PCB, in US dollars mine cost almost 900 to fix. Turn around time was about two weeks.

The image out of this camera is lovely....especially the colors....Panasonic has an excellent combination of cameras capable of working together now.... the GH5, the EVA and the Varicam....looking forward to what @Zak Forsman produces with this newest release!

Well you have to record the mic to *something*?! No good by itself. However the Zoom H1 lacks any XLR inputs whatsoever, which massively limits your options for buying a quality mic. I go over recorder options here: http://ironfilm.co.nz/which-sound-recorder-to-buy-a-guide-to-various-indie-priced-sound-recorders-in-2017/ In your shoes I'd suggest get at least a secondhand Tascam DR60D, they're so cheap it is almost free! :-P If you're doing any paid work, then how come you have no budget for audio?!?! (as yes, $60 = "no budget") The minimal kit I'd suggest to get as a broke as person entering into doing professional work for interviews/commercials would be: Samson C02 / iSK Little Gem + Rode WS8 windshield (for when outdoors, as if positioned well and in a quiet enough environment then you can get away with the C02 outdoors for a while, but I'd recommend to buy the Aputure Deity as soon as you can) + Tascam DR60D (mk2 preferably, but a good deal on a mk1 is fine too) + {plus shock mount, XLR cable, boom buddy, and boom pole, if you don't already have those} https://www.gearslutz.com/board/reviews/1032461-isk-little-gem.html https://www.iskproaudio.com/collections/microphones/products/little-gem?variant=4213264837 Yes, it is smart to have two options running at once so each is a back up to the other. Especially if you're a one man band, so your focus is being split 100 different ways all at once. And *essential* if you're not monitoring your audio! (which is the case if you running the lav into an H1 / phone) This! Remember to pay very careful attention to your position of boom mic (and keep an eye out if the talent shifts around and moves off the optimal spot! You may need to reposition your boom mic mid shoot. This is why using a stand isn't simply a "set and forget" situation).

Exactly what Happy Daze said. The blacks ar not crushed, Premiere Pro is just viewing the footage that way. To get rid of this, select the 16-235 luminance setting in camera, not 0-255. If I remember correctly, the easiest way to get Premiere to 'see' the blacks (and also highlights, which are shown as blown-out, but actually aren't), would be to set output values in fast color corrector to 16 for blacks and 235 for highlights. You could also use RGB curve and lift the left end (blacks) and lower the right end of the curve (whites), while keeping the curve line straight. As to getting flatter image - I see you're using normal gamma with -4 contrast. Gamma DR with the same settings would definitely be flatter. Black level adjustment though, also gives flatter image, but I don't use it. When I plan to grade the footage, I use Gamma DR, -5 contrast and -2 saturation. With -10 contrast the image can get weird, and you have to perfectly nail WB, to not get weird colors.

Here's a still from my 6K anamorphic video of the Grand Canyon sunrise. Full video coming soon.

The rule in audio is that a cheap mic close to the subject is better than an expensive mic further away. I'd go for a Lav if you are on a budget.

I need on board RAW[some form of] and Autofocus and great low light sensitivity. Eva cant offer anything what i need. So please dont get angry over a pice of plastic box. Its ok EVA can have Great 8bit codec for slowmotion and no viewfinder, crop slowmotion, Can justify all that money. good for you, good for panasonic. Its my personal opinion also i have done several projects on Varicam 35,Pure And LT.

Primes are fine if you have time to set-up and swap lenses. Great for scripted stuff. Fast-paced work, or work where you only get one go (i.e. documentary etc.) does not lend itself to primes particularly well. There's no reason you can't get something looking just as good shot on a zoom vs a prime.

Hello Andrew, I just wanted to say thank you for all your hard work with EOSHD…I have been following for years and this is my first response on the forum. Hi every one! I hope in some way this is useful for the community, as I did a quick test of the ”EOSHD Pro Color Premium Bundle”. If everything attaches properly you will see comparison shots of: PP OFF_Sony Neutral PP 1_EOSHD Pro LOG Cinema PP 2_EOSHD Pro LOG S PP 3_EOSHD LOG PP 4_EOSHD Pro Color Original PP 5_EOSHD Color XR Notes: • “Balanced” and “WideDR2” are the EOSHD Pro LUTs that are applied to Cinema / LOG S / LOG (no other adjustments). • “CC1” refers to slight final adjustments of exposure and contrast to more closely match the comparisons (no specific change of color or saturation in the post process). • The post process was done in Adobe Premiere with Lumetri Color panels • I doubled checked all settings and did a custom white balance of 5100K (no other adjustments) • Some shots where slightly over or under exposed, but I wanted to maintain ISO (800 / 3200) and aperture settings. Lights that where used for the shoot: Key Light - Aputure LS 1 (5500K 40% Power) Hairlight - Aputure AL-528W (Default Daylight 50% Power) Fill - Silver Bounce (40Inch) FYI…I have never used Sony’s built in Creative Styles or Picture Profiles since owning the camera, and realized after the fact that “Neutral” is actually close to a graded style. In hind sight, I am thinking I should have used “Standard” instead for the comparison. I am very excited about the color of "EOSHD Pro LOG Cinema" and the freedom to move away from 3200 ISO, not sure how much loss in dynamic range there is but I will keep testing. I apologies in advance if I have in any way misrepresented the ”EOSHD Pro Color Premium Bundle” in this test and I am open to any constructive criticism.

True. The TV crew shooting a reality show where I work used an F5. They also had for example a small hd with the sidefinder. When I asked about it they had no idea what I was talking about. They where creators first, tech guys second and forum nerds last/not at all

I think you need to reread my post without a pair of defensive glasses on. I have not pigeon-holed anybody nor anything else that makes me look silly. I just added a couple of thoughts to what could be a meaningful discussion about the problem all people that hang out here, including nerds like myself, face. We risk the chance to be "home blind" and forget about the real people out there, you know the audience, the non nerds... They are at the end of the day our bosses. What they like goes. But to answer your questions, yes they do, its starting to drift a little. But that's normal with any trend. If we look at the last 20 years so what you call "heavy-handed grading, blurry images, harsh lighting and distracting out of focus backgrounds" have been considered "professional" looking. That's merely because the real non nerd people haven't been able to get those looks with their own equipment. Its been unobtainable and different = professional an likable. When they hire someone to shoot video they want something different than what they can get them self. Before it was easy. Just use a tripod and good audio and you kicked their ass. Today the world is different. Everyone and their cat has a tripod or stabilized lens. A large sensor and a decent mic. So today we must once again look at what we can offer to our clients and audience. But there are of course a few things that never go out of style. Story, good music, great acting, good exposure and to some degree contrast. People seem to enjoy contrast. But please note that I haven't even commented on the video at hand nor the response to it. I just commented that contrast isn't always a bad thing and shadows can be both crushed or not and still look good. Why do you think every new camera that's ever been mentioned on this forum gets a dedicated thread with people bashing the crushed shadows. Just to a make a new thread a few weeks later celebrating the shadow detail? Its not because Panasony doesn't know that "nerds" like raised shadows. Its because they know that the big chunk of non nerds out their like it their way. And they are more important.

The shadows crushed to black on the suit are particularly distracting, otherwise very impressive. I think it would benefit from tweaking those levels to be compatible with the majority of monitors. The camera manual explains the significance of the luminance options for play back. Shoutout to the actors, magnificent.

I think you achieved that look, some very beautiful stuff! Aside from stylistically not having a problem with the alleged "crushed" shadows, I didn't see any problems compositionally/graphically with that either. Bear in mind that I only watched the concept trailer once, but I didn't come across a moment where I felt like I needed more information in the shadows to tell me more. We decide what we want to show, and what we want to conceal. To all the people that think you needed to show more "information in the shadows", would it be preferred to shoot the entire film with a fisheye to give the most information that way too? Maybe just do it in VR? Do a grid system to show multiple takes at the same time? Then we can have all the information !!! On a serious note though, hope the concept trailer gets you and your team the feature, it looks promising!