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Voigtlander 40mm with Formatt Hitech Supermist Black 1/2

Got myself some new glass for Christmas. I do prefer native lenses but the Sigma Speedbooster combo works really well! Screengrabs from GH5 + Speedbooxter XL + Sigma 35/1.4 + Black Pro Mist 1/4. Edit. Oh yeah, thanks to @jase and @kidzrevil for introducing me to Black Pro Mist, and other, filters.

just a thought... if you took a high resolution still from the ceiling, could you crop in at the start of the shot and simply zoom out in post to replicate the movement? It would keep it simple. Assuming, of course, there’s no other movement in the shot.

I’m seeing Alexa classics going for $8k now. I’m still going to hold out but the Alexa is really the only camera that I’d “upgrade” my 1DC from.

Use a crane/Jib for indoor. Drone is dangerous so close to your actress and you will get lot of wind, sound , dust and maybe blood on your take. Outside whatever drone with tiltable 3axis gimbal will do the job.

Yeah, I'm ready for some hot new KeyMission goodness! Bring it! 'The storytelling revolution has begun.' https://www.nikonusa.com/en/nikon-products/action-cameras/index.page

So your advice is to continue the ENDLESS threads about how a Alexa is better than a Cellphone on here, and the GH5s just sucks to some, and still ending up nobody, including me post shit for movies or shorts wise. This place lately is becoming All Talk and no Action.

Yeah, yeah, I've seen that already. Be careful not turning this forum into a blog, yeah. We go to blogs and other outlets for that, m8.

None of Canon mirrorless bodies have 4k, full read out or crop, and none of them have IBIS. But they're stealing market share from Sony, Olympus and Panasonic. What we perceive as a successful product could be very different from what the company managers see as successful. Anyway, at least we'll have a better-suited-for-FF mount. I post this in other forums and put it here too: Z mount has more than 6 degrees advantage over E mount. This let them, and third party lens makers, try some interesting optical designs. From insanely wide aperture to insanely wide focal length.

Depends on your budget on all this. But this is how I would do it. - DJI Phantom 4 Pro at least (best IQ at affordable price) if you have more $$ then the inspire 2 with X7 is incredible. - 8 ft jib attach the drone to the jib and use the jib to get the move in the room. The drone will be turned on so the gimbal will be on, but you don’t need to use the blades. You can operate the camera from the app and use the jib to get repeatable motions. Then for the second shot use the drone like normal. Easy for the P4 Pro. Make sure you change the maximum altitude to maybe like 300 ft or something to get that huge move you want. By doing this you keep the image consistent between the indoor stuff and the exterior.

It can be done with a Drone and is not that difficult but drones are less stable indoors than outdoor due to the lack of GPS signal. I have flown my DJI P4p many time indoors and if the indoor location is well illuminated is quite stable. For indoor the smaller the drone the better it is, because it can be more easily maneuvered, make less noise and the most important part they are less dangerous. A smaller drone like DJI Spark (HD only) with propeller guards is probably the best one for the indoor shoot. DJI Mavic would also work but it would be already quite big to maneuver in such small height advantage is that is 4k but also you can buy a full cage for propellers so no risk to cut the face or finger of the actor. Anyway I would not recommend flying so close over an actor head without a lot of experience. I would not buy a drone just for this shoot even if you need to redo it many times as Grimor said a Crane/JIb is way easier and safer and you can also record audio... drones indoors make tons of noise and some wind. Outdoor any good drone will do the job but pay attention that every country has its own altitude limits. All DJI drones are capped at max 500m altitude from takeoff point, but in many countries the law limit is way below.

A real shame they did not go S16 and Digital Bolex direction instead.

***HATE SPEECH***!!!!! CALL 911!!!!!! BULLYING!!! jonesy u better not post stuff like that online theyll come getcha

A year ago, I was contemplating picking one up when it hit the 12.5k mark. I priced it out at time, and looked at what I would need to get it in motion (all that I shoot), and decided to hold off. That decision ended up setting in motion the conversion idea for a somewhat smaller camera ;). I will still likely get one eventually, as I am a nutty fan, but it won't really be practical for personal shooting for me, because of the weight (the motion tools and crew needed for them etc.). It would still be nice to have one however, and I spoke to Roman Alaivi a while back about it (someone who ended up getting one when it hit 12k). Here are his thoughts: Hey man, yeah I did get a classic Alexa last December. I've loved it so far. Basically, in terms of functionality it is a beast and not quite as simple as the URSA logistically. It's big, uses lots of power and can be a bit of a pain in terms of getting up and running smoothly once you buy the camera. Here's what I had to get off the bat to make it just as useful / practical as the URSA. - 6 * 155WH Anton Bauer batteries. Each battery giving me approximately 1hr 15m. 6 batteries was the minimum to run a normal shoot for me. $1600 -O'Connor 2060HD head used $6k. O'Connor sticks, $1500. I suppose you could skimp out here and get another head... but man... this thing is no joke lol. You need a serious head. There's older versions of the O'Connor you could probably use though -4 * 64GB SxS media: $1k. This was the dumbest purchase, because I could have literally gotten a Gemini with an ARRI Raw licence for about that much, and multiple 512GB cards... so silly. Either way, look to spend about that much to make it useful media-wise -Hot swap battery plate, to run 2 batteries $300 -Good telescoping rosette arms. With other cameras, I could care less, but with how big the Alexa is, I pretty much needed exactly the right length of arm to make handheld feel as natural as URSA or other cameras. I got the shape handles for $1k. Might sound like overkill, but other rosette handles just don't hold up with how much weight you're bouncing around. The solid Tilta handles I had eventually wore-down and the rosettes didn't even lock into place properly because of the bumps and jolts they'd get tossing the camera around sometimes. There's a few more things for sure, but those were the main purchases. In the end, once I had everything I needed, it wasn't bad at all. Takes more time to setup for shoots, but less time in post. Footage looks so good, and just the ARRI REC709 LUT looks like a movie every time lol. I'd be lying if I said it wasn't worth it just for the look and how consistent it is no matter what I shoot. I've been loving it so far.

Hey all, I've just finished up a new grading tutorial especially for any of you shooting CinemaDNGs. It actually works with any CinemaDNG, not just limited to Blackmagic cameras. In the tutorial I show you how get access to the full dynamic range, richer colours throughout the full range, and all in a curve thats a lot nicer to grade than BMD Film. Feel free to leave any feedback or questions and I'll do my best to help you out!

http://www.uavexpertnews.com/2018/01/introducing-the-evo-drone-from-autel/ https://www.pdnonline.com/gear/drones/autel-robotics-prepping-mavic-killer-compact-photo-drone/ https://www.autelrobotics.com/evo/

Well I know he is not a lot of peoples favorite on here, but he has some damn good points in the video. https://nofilmschool.com/2018/01/powerful-4-minute-lesson-filmmaking-casey-neistat

Well your "experiment" will fall on deaf ears on here. I would not bother either. But it does sound somewhat complicated, but interesting also so... But that "simple" system seems to have worked for longer than we have been doing this.. Not saying there is not room for improvement.

I just wish they’d make a straight forward cine cam with the X7 that doesn’t need a drone attached to it. Love that image.

Sounds like a plan. I don't want to piss anyone off on here. I want people to learn new stuff. We are Not the experts on everything on here. I would argue that every Video on here that shows a test of the GH5s, or a DJI drone, etc. etc. is a link to a Blog, even people that are on here all the times Blog! But I will stop, let things just go the way it has been going, and well, not sure.

Oh noes, it's the max police! Haha, nah, I mean, it's alright, everyone can do whatever they want of course. It's not my place to say what one can or can not do, just a friendly request, I just came back from being out and about and I just noticed all these new threads. One after another. Maybe a little exaggerated response from my side, but just my 2 bitcoins of course. And Andrew is under a non-disclosure agreement and he doesn't want to slip up, I bet that's all.

Let's not shoot the messenger? He's already short one eye What the heck is happening with EOSHD? I get the sense Andrew is burnt out. Not that I don't sympathize. It seems consumer video has reached a plateau.

There are lots of other questions that I could have. No reason to get angry over this. Like shooting in LOG vs non LOG then matching them.

Could you show me some video you shot with tokina and speedbooster pleas? In fact, when Im' shooting gun action, 20mm to 24mm (35mm equ) is the sweat spot to me, this laowa is too wide. 35 mm is also nice for journalism/report. I forgot to mention that I imperatively need classic filter on my lens. I've damaged an ultra wide lens last year (no UV filter) receiving a cartridge...

The Tokina 11-20 is pretty sweet. I have the older 11-16mm This can last you many years across many systems. And who the hell needs AF for UWA anyway? Your DoF is measured in feet after all!

Absent at NAB in the last two years. Nikon has reserved a big boot for the NAB 2018 https://nikonrumors.com/2018/01/17/why-did-nikon-reserve-a-big-booth-for-the-2018-nab-show.aspx/#more-118912 Could this mean the mirrorless will be announced soon and it has an important video function?

D500S is a good point, like the D300S was nothing really for photography over the original D300, but the D300S did add video. Maybe D500S will have focus peaking, no crop 4K, and dare we hope for it..... 10bit?! ;-) One can dream! Hope so. Always been impressed and tempted by the D750.

Looking forward to it

Cool. Ya you can rent jibs really easy. Look around your local video rental places. If you’re in the USA Lensrentals.com has some Kessler jibs that I think would work.

I know this thread is mostly about the content that YouTube chooses to promote in terms of exposure, but today there has been a lot of rumbling on YouTube and around the internet about the internet browser, Brave, and Basic Attention Token. I reckon it's worth mentioning here because it seeks to cut out middlemen like YouTube to make a better advertising experience for both creators and advertisers. The browser blocks all ads and third party scripts, then users can choose to watch ads to receive BAT, which they can then distribute to the owners of their favourite blogs, youtube channels, etc. It's a really fascinating idea. It blew up a bit today because they're giving away $5 worth of BAT to everyone who signs up, which must be distributed to your creators of choice in 90 days. Read more about Brave here: https://brave.com/million/ And if you're a creator, you can sign up to receive BAT here: https://publishers.basicattentiontoken.org/ Just in case, no, I am not affiliated with this company. I just think it's a cool idea.

That one's actually a regurgitated Hubsan X4 at about 3 or 4 times the price with a 720p camera. Btw some Chinese guy hacked the camera on the Hubsan and changed it with a much higher res model. And i think the module was available ovet the shelf for like $10 or $20.

One for $99 too please ;-)

Man somehow this thread went from DJI killer to new DJI announcement participation thread Having said that I am eagerly await what DJI will come out with! If they can fix the 50/60p quality issue and add 4k60 while being lighter/smaller than mavic I am all in!

I waste too much time on social media and forums! Thus I see stuff pretty quick. Somewhere between nope and no. Well, they might surprise us. But I doubt it, as it is their lowest end units. A pity, as a MixPre6T I might seriously consider, but as it is now then it is pointless for my needs with it being limited to only four channels when running TC in the bag. Watching a very interesting tear down of the G3 at the moment:

@elgabogomez@Bioskop.Incand @webrunner5 Thanks for continuing the thread. The buy in is indeed high, using the Elmoscope I or Kowa 16/d/s seems reasonable at least. I really do feel grateful that you guys chimed in!

You'd think people with a 200mm do much manual focusing? Yeah... they're probably shooting still life. Anyways, in that price range, it better be that optically sound... just wondering... does the lens cap say 'Lumix G' as well? If you can justify having one, for like good reasons and having the cash availlable, you're probably also in the position to just go and buy an Atlas anamorphic lens?

@User WTF?

You can almost get a Zeiss Compact Prime for that kind of money...

Of course they are, I just spent my wireless budget on 3 Sony kits! I didn’t see that coming. What are the differences with G3.Is this a hybrid system? Do we know anything about the pricing?

At $3000 the Leica may actually turn out to be a bargain optically....very little in any format is going to touch this lens...lenstip does not glow easily in their reviews??

Think about it in S35 terms not FF. Then consider maybe this is with a focal reducer. F4 then? That is a great F stop to shoot with! Fantastic. If the Varicam LT (which is a massively more expensive camera) can have a huge impact on the lighting setups and lighting budgets, because of its dual ISO, then you can bet your bottom dollar there is truth in this statement for the GH5S too! Zooms are important for scripted shoots too. What happens if the director/producer throws 15 pages across four locations in a 10hr day at you? You'll want a zoom! BINGO! EXACTLY It not just only about how clean the image is, if the image is clean enough anyway.

Kodak 10 years late with this idea...such a missed opportunity to not have used classic cine camera designs from the past. That at least could create a desirable/ collectible camera for a relatively niche market. That would be of some justification for the insane price and ‘gotchas’ that the Kodak ecosystem will force users to comply with. I’ve not looked into it properly, but it appears that the Kodak s8 camera is a pretty close copy of the previously released Logmar camera. The Logmar looks better, but also expensive considering how much existing excellent s8 cameras go for on the used market. http://www.logmar.dk/ I’d much rather spend the same money on a Beaulieu 6008 PRO and iscorama!

Thought I'd post this here for the curious who are not part of the Kine FB group. The only adjustment made to the footage is applying an Arri rec.709 LUT. Shot with Tamron 24-70 f/2.8. f/2.8 - 4.0 ISO: 800 25 and 75 fps 4300K Downscaled to 2K and exported in 422.

Nikon even has a website for filmmakers and a competition for Nikon made films. Plus they have focus peaking now, which Canon still hasn't done. And Nikon beat Canon to putting 4K into a non-Cinema camera. Also Nikon beat Canon to adding 60fps in a DSLR. And let's no forget it was Nikon who started this all off! With the first ever HDSLR. So while yes it is fair to criticise Nikon for not doing as much as Sony or Panasonic, at least relative to Canon they've got some things going for them. And hopefully Nikon might surprise us with their mirrorless, at least by Canon standards! Ha

Yes for raw stills. There is very little noise and when pushed its 99% luma noise which is very easy to remove or plesant to keep. I often shoot the new Fuji sensor in daylight at iso 4000 just because of the nice grain structure.

A Nikon NX500, 10 bit 4:2:2 to use my nikon lenses without adapters. A Nikon NX1 with IBIS and anamorphic, same mount. Both fairly priced.

Yeah, what would be interesting to see is how it would compare wide open against a pinched 75mm f/1.8 or Nocti 42.5mm f/1.2 set to f/2.8. Or price wise how it could keep up or beat say the Olympus 60mm f/2.8 or Panaleica 45mm f/2.8. Concerning the footprint... a Panasonic 42.5mm f/1.7 or Olympus 45mm f/1.8 should be around that same mark I believe. Not sure about that smooth finish, but that might well be a thing that looks more iffy than it really is.

Today I grabbed my DSLR and went for a short walk around the neighbourhood to take some pics. I wanted to get some shots to test a film look DCP profile I've been working on. As part of my research for this I discovered that most contemporary DSLRs deliberately underexpose when using in-camera metering. This is because for most sensors there aren't actually that many stops between middle grey and totally blown out. For example, my 5D3 will clip at around 3.3 stops above middle grey. I know this because if I shoot a white sheet of paper at 1/3 stop increments and examine the linear RAW values, the exposure that gives me 18% of the maximum RAW value is around 3.3 stops below the one that clips... and that, by definition, is middle grey. However, this leaves very little room in the highlights. The DR of the 5D3 is around 11.5 stops. So there's three and a bit above middle grey, and around eight below. If you were to meter correctly, you would be very much in danger of blowing out highlights. To help combat this, it appears that most camera manufacturers use 12% grey as the basis for metering. The effect of this is to provide an extra stop or so of highlight headroom. And in fact, this is borne out by checking values in ACR, where actual 18% grey sits at around 185 and 12% grey sits at around 119 (the given RGB number for middle grey in a 2.2 gamma). Anyway, that's all very interesting or very dull, depending on your point of view. But for some reason it inspired me to shoot on auto exposure on my walk. Even though I normally think of manual exposure control as being the absolute best, I was now considering that Canon have probably tested this a lot and perhaps auto isn't so bad. So I put the camera on aperture priority with auto ISO and started snapping. At first I was kind of worried as I could immediately see two things happening that I would have rectified straight away if I had been shooting manual: Low contrast shots were looking a bit underexposed (I would normally ETTR in these situations to minimise noise) In high contrast scenes some sky was getting blown out (I would normally protect highlights as much as I can) However, I just went with it. When I got back to my computer I also did something that I never usually do and that was to click the "Auto" button on the ACR exposure tab. I was really surprised with how well everything turned out. ACR's best guess did a great job at expanding or contracting shadows and highlights automatically. All I had to do was tweak overall exposure, and sometimes highlights or blacks as well. Here are some of the results: Are there clipped highlights and crushed blacks? Absolutely. But the pics still look good. Now, I don't know if I would shoot this way for a client. However, I've got to say that it was such a blessed relief to not be constantly chimping the histogram and re-taking shots to get the ideal exposure. And it was also a very good feeling to get the processing done in two or three clicks. It made both shooting and processing a lot more fun. Who knows, maybe I'm ready for auto white balance next!

I think, framing, shot design and lenswork is superbly well done from 1.40 on! Really great job, A+ rating. Before that it does not have that quality, neither regarding framing nor rhythm nor shotdesign, lighting the least:). But from 1.40 really beautifully shot, with true talent and skill. Also showing of the lens very nicely as well

All these examples have been great and inspired me to get a compact 40 for my newly acquired GH5. I also noticed another film on YouTube using the Samyang 21 & 50 cine lenses. I really like the feel of these lenses anyway but combined with the anamorphot they look like another great combo. What are the settings in the GH5 for the Anamorphot? Please be patient with me as I'm extremely new to this format (although I have used Moondogs on my iPhone and iPad). I realise the Anamorphic setting needs to be off but what are the key changes to set up to film with? I will be doing a lot of interviews for a future documentary on English education and so light won't be a problem.