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8K is the future, buying a 4K domain would be like having an HD reference in your site or something like "eos" or both...

I was actually referring to the 20-35mm EF version but it’s probably a very similar lens design... maybe even identical. But yeah, this is definitely my thought process. In fact, I could see myself shooting an entire short film with just one lens. Now the problem becomes... which lens. I am looking for a very modern clean prime lens between 35-50mm. I’d love a 50 or 35mm 1.4 Sigma Art but I don’t want to pay that kind of money... any suggestions? I’d love some Leica’s, but as you know... they can be pretty pricey... do you have the 50mm f2 Summicron? For now I am going to roll with my Canon lenses. Hopefully this zoom will be good. I’ve been editing a scene from my short that I shot with the 35mm f2 and I really just love that lens. The color needs a little work yet, but the lens is just special...

I rent out my aputure kit and quasar science kit often. It's all about knowing what's popular. Leave the cameras to rental houses as people want Arris and Reds to rent. Glass too. Who the **** can justify spending 40k on a lens or body?

Hi everyone. I am new here, but having got my H1 on 1st of March I've just speed read through this entire thread and feel like I have to chip in. I had been shooting Nikon for about 20 years and came via F5, then digital from D200, through to D4 and D750, before switching entirely to Fuji X, having an overlap of 4 yrs running both side by side. I've sold my X-T2 yesterday and trying to sell an X-T1 and an X-PRO2 - I am so impressed with the H1. I just can't imagine ever wanting to shoot the other bodies any more! I do about 60% on video and 40% on stills, and have 14 Fuji X lenses from 14mm through to 400mm, plus an 8mm Samyang. Today I had been practicing with the H1 and an Atomos Shogun. My initial reactions (I'll spare you from regurgitating the specs): I got the body plus Battery Grip and 2 extra batteries and absolutely LOVE the handling. This camera is more pro feel than the X-T2, and is inspiring like my D4 was, when I have the grip on. BUT take the grip off, and it is the same height as the X-PRO2 and makes great walkabout camera. (In fact I would like a 2nd body!) The shutter has to be experienced, to be believed. The sound is like a lens shutter, with no perceivable body shock. The release is on a hair trigger, which took me about 2 minutes to get used to it. I used to do target pistol shooting, and this is like an Olympic grade target gun. You can release the shutter without jarring the body. Even without IS you can easily shoot 2 stops slower than "normal". Now add IBIS and then add OIS lens (the two IS's work intelligently together!) and I've seen people shoot handheld at 400mm and 1/5s and get usable stills. There is a TON of customisation options! Yes, any X cam user can feel quickly at home, especially after the X-T2, but there is another dimension, when you dig deeper. Such as user settable AF delay and AF focus pull speed. My unscientific gut feel is that although not quite as good as Sony - it is damn fine. Most pro's prefer manual focus anyway, but this is quite outstanding and the best from Fuji to date. Eterna is pure pussy! (Quoted from Blazing Saddles!) and available for both stills and video 4:2:0 at 200Mbps with Fuji quality is just fine by me, and externally on my Shogun I can record 4:2:2, so no issues whatever Love the top LCD, which is customisable and shows relevant and different data for movie or stills shooting As with the X-T2, having 3 batteries is great and being to charge all 3 simultaneously, whilst IN CAMERA is fantastic. Imagine that after a day's work you just connect the camera to the 9Vdc charger for the grip and a USB3 2A for the body, and the next morning you have all 3 batteries 100% full, without having to get up during the night to load the next battery into the charger! Bliss! The wireless stuff finally seems to work with my iPad/iPhone and has both WiFi and Bluetooth - but sucks battery something rotten! When recording externally, you can actually turn off recording to SD, and still control the external recorder via the camera shutter release (or touch) via HDMI control Overall, I simply love this. I have heaps to learn about this camera and do not claim to be an expert - far from it, but I know enough already that for me it is a winner. Sure it is not a replacement for a Red Dragon or Ari, but I much prefer it to a GH5(S) or Sony A7... (both of which are very fine cameras). Thanks for reading... Paul

I've bought canon4kffwithlogandibis.com I'll be putting it on the market in, ooh, 2023 or so?

Here is another one off "Red Screen Productions" vimeo account Camera test testing out the Slog2 picture profile on the Sony A7RII and a couple new fresnel lights we got. Shot in 4K in all its glory.

I recently finished this project. If you like the results, download the LUTs for free on colorizer.net.

Nominated 14 times - finally got one in the bag! Congrats Rog! (not that you needed this kind of validation - your and your crews work speaks for itself)

When you create your own luts, it's always advisable to check color transitions using an image like this: I applied your ClassicChrome lut to this, and this is what I got: You want to see about the same smoothness as the original image, but with different colors.

By glass, you mean our lenses, right?

Im up for reliable4ksonywithdecentwhitebalance.com largesensorpanasonicghcamera.com samsungnx2.com fujiwithfullcustomizibility.com nikonmakesaneffortrinthemidrangesegment.com blackmagiconsaleagain.com pentaxkeepsitsimple.com fastprimesforthecanoneosm.com

Ah, my b. No clue about that one. Wonder how the focus ring is. Those earlier EFs range from pretty good MF action to pretty awful. Fun thing I just learned: all of Call Me By Your Name was shot on a 35mm. And it looks lovely! A single lens film can definitely be done, but it entails its own set of challenges. See that as an advantage, though, since specific limitations often produce inspired results. Hm...modern clean prime. 35 or 50. Not too pricey. The Olympus OM 35mm f/2 comes to mind. Sharp as a tack, great colors, very affordable. The Contax Zeiss 35mm 2.8 MM is another stunner, if you can handle a modest aperture. Sparkling and pristine from wide open, and a tiny little bugger to boot. Ditto the CY Zeiss 50mm 1.7, which is even sharper than the 1.4. Downside of that one is the build quality--bit plasticky compared to the rest of the lineup--as well as the somewhat "nervy" bokeh (though that's more of a taste thing). I do have the Leica R 50mm Cron. My version hails from 1970, and thus wasn't too pricey. Ran me about $350. Lovely, gorgeous lens, but I wouldn't exactly call it clean and modern. More like a Panavision C-series, with a bit of highlight bloom and nice resolution of fine detail without aggressive microcontrast. Flares like a bastard, too. Canon lenses aren't my favorite, but don't fix what ain't broke. If it works for you, use it. And it certainly looks like it's working for you! Love what you've been doing with the 5D raw.

Having used the A7rII for years and now the A7rIII, I agree with that. Now I got the vertical grip which brings a tremendous improvement in handling, giving it a similar feel to the D3 that I was using in the past, but that of course comes with the size & weight increase.

@User What a wonderful video - I hadn't seen that one, thank you. Here's a similar one that I've seen that is also imperfect in quite pleasant ways: And to add to the Operator vs Camera theme of the thread - the above was shot in an iPhone5, so I don't think anyone will be rushing out to buy this magical hardware to get the look above! Fascinating - thank you. Not much has been spoken about lenses in this thread. I knew the Sigma 18-35 was a favourite but I've not heard it described like this! I contemplated buying it for my Canon 700D but after doing some tests of IQ I concluded that the codec was just too compressed for the kind of work I wanted to do. That lens still peaks my attention when it's mentioned, maybe in the future I'll make the decision to buy one and then work out what camera to put on the back of it I'd be interested in hearing your personal recipe. Not to copy it (which sounds like it would cost thousands of dollars in lenses!) but to see if there's anything in there I can learn from. Obviously if this is 'secret sauce' and you'd rather not share then no worries. On a personal note, I think I've made several strides in the last few days. Yesterday I found a wonderful combination between C-Log ETTR as recommended by @mercer (thank you again!) and the post workflow described by @Juan Melara in this video here: I was previously using the custom profile from the XC10 thread that was hammered out in response to finding the ghosting in C-Log from the temporal noise reduction they sneakily add at higher ISOs to bump their lab test scores. Unfortunately what that meant was that there were no LUTs or camera profiles available for me to use, so I was thrown into the deep end of Log grading in Resolve without a paddle, however shooting in C-Log and then using the above method gets wonderful punchy colours almost effortlessly, but is also flexible enough to correct for my inevitable exposure and white-balance issues. I've watched my body-weight in YouTube videos from amateurs showing workflows that seemed to work for them but never for me, or pros who did it and made it look easy with test footage shot without the problems that I encounter - none of them had a workflow even remotely like the one Juan uses above. And on top of that my investigation into YouTube and how to get nice looking video quality out of YouTube has paid off to the point where I now have a workflow without major issues (for the first time since buying the XC and Resolve!) so I'm pretty stoked about that. Now I think I just need to shoot more and gradually learn what I like

But see comments: "There was monitor attached to 6500 and as i did fund out later face detection do not work, or not work correctly with monitor attached!"

sounds like you guys are talking more about post-production wow factor tricks than actual camera inherent mojo.. it seems shooting super-slomo at super shallow DOF + a LUT gets instant mojo approval yet i believe there's also mojo on the hardware side. not that many cams have it imo.. it's a mix of color science, motion cadence, dynamic range, sensor type etc.. obvious mojo cams to me are Alexas, BMPCC 2.5K, 5D3 ML Raw, 1DC, Digital Bolex, D750, Fujis.. of course one shouldn't underestimate the lens pairing either..

Are you thinking about getting another wireless? Then boy do I have a deal for you! These (which are in my view *the best* low budget wireless! Is why I own FIVE sets of them) are having a cracking good sale deal on right now (limited time flash sale at B&H): https://www.bhphotovideo.com/c/product/1025750-REG/sony_uwp_d11_14_bodypack_lavalier_mic_eng_package.html

Camera ergonomics are at least partly subjective, but my ideal mirrorless design is a mini D5/1DmkII. For example I would like A9 to be something like this: Who knows maybe when Nikon & Canon decide they need to make a sports mirrorless camera we will see something like it.

Another choice would be the newly released zhiyun-tech crane plus which can take up to 2.5Kg https://www.bhphotovideo.com/c/product/1383663-REG/zhiyun_tech_crane_plus_handheld_gimbal.html You can also go with the cheaper Crane v2 but you are close to the weight limit which I don't know how it will affect the performance.

Like I said on IG, thats a lovely frame. You really should extract the DNG and edit it for print

Agreed! And there is a reason for the high shutter speeds, because you usually double the shutter (180 degree) to match whatever current fps you are shooting at... so 24 is 48, 30 is 60, 60 is 120 & 120 is 240 and so on.... but the trick with Twixtor is that you're doing a hypothetical 240fps, 500fps or 1000fps or more.... but you are only really shooting say 4K @ 60fps so you set the shutter speed to say 1000, 2000 so it works with Twixtor to get that 500fps or 1000fps. Sometimes its better to even set shutter speed at 4000, but think about how much light you are losing. Also, thanks for the heads up on the new plugin to treat motion blur... I also agree on this as well... Just to be clear, I wasn't promoting Twixtor or other slo-mo softwares, was just responding to @Geoff CB when he said that the creator of the 'Dark Side of the Lens' - "Completely ignores the shutter speed rule, contrasty as hell, warp stabilizer everywhere". And, as @Matthew Hartman pointed out, that you need to plan for it to be really effective for its intended purposes. I think that the creator of 'Dark Side of the Lens' was intending to use Twixtor to some effect, but its hard to really plan it out on a run and gun - nature type video. So he set it @ 720/60p - recorded as much as possible and as fast as possible with high shutter speeds (or not) and did the rest in post. Also, "it seems shooting super-slomo at super shallow DOF + a LUT gets instant mojo approval" - I don't know so much to say that... what I can say from the video that I posted with the BMX bikes - yes... there is this cool/awesome factor, but notice that there in lies the problem with Twixtor too. The image quality becomes some blurry soft mess, hence you thought this super shallow DOF, when in fact those rain drops are SFX/CGI add-on courtesy of After Effects and Red Giant's Trapcode Suite, placed there to mask the problem or to get the viewers to set their sights away from the problem For those interested in Twixtor, Phillip Bloom has some really good advice on it: http://philipbloom.net/blog/twixtor/

Thanks, I’ve been working hard at improving my craft. Now if I could just find some actresses. But seriously, I am so happy I stopped chasing these 4K cameras. I was never happy with the results. And spending time with one camera for nearly a year now has taught me so much. I’m hoping the 20-35mm will have a decent focus ring since it’s an L lens but in reality with those wide angles, it’s not like I’ll be racking focus or anything... so as long as it holds focus and doesn’t drift... I should be good. I just sold my Canon 24-70mm f/4 and although it was on the slow side, it’s an amazing lens... but since I’m a one man band hobbyist filmmaker, a $700 lens just didn’t make sense. I’ll probably end up building a small set of Canon lenses and a small set of f/2 Nikkors and then I’ll keep a small handful of my favorite lenses... like the Minolta 35mm 1.8 and my Tokina 24-40mm. Hmm, I never knew that about Call me by your Name... nor have I seen it. Thanks for the info... I’ll check it out. And thanks for the lens tips. I’ve had a Zeiss 50mm 1.7 but I think I may have had a bad copy because I didn’t get any of that signature 3D Pop that lens is known for. How about Rokinon/Samyang cine Lenses... are they supposed to have a modern look? I know they have some character, which is good, but I’m looking for that clean, sharp modern feel. I already have plenty of lenses for vintage type looks. Anyway thanks for your help and post some more stuff from your F3... love that camera. If I didn’t need to be inconspicuous when I film, that camera would definitely be on my radar. Every time I try and build a Takumar set, I just cannot find 50mm 1.4 that isn’t yellowed. I don’t thing the 55mms have that problem... but what’s a set of Takumars without the 50mm 1.4.

If you accept my opinion, you should work on your interpolation, the transitions of your LUTs are very rough. I'll post an example in your thread soon.

https://www.redsharknews.com/production/item/5312-buying-your-own-alexa-is-much-easier-than-you-think

Happy Birthday! It certainly is a very very common camera. Had a couple of days shooting with it last week in my office building.

The follow focus would also keep a much much much longer lifespan as a relevant piece of gear, unlike the Raven which will get outdated fast.

Nice. And if you don't have a fuji but want to get these simulations, you can find the rec709->film simulations LUTs here:

The 1300D kit with the Canon EF-S 18-55 DC III lens, the Canon EG100 bag and a 16GB SD card costs 325-350euros over here (all the shops selling this kit, and the country has one of the highest VAT numbers in Europe). It has everything the 40000 has, plus a larger more detailed screen (Gordon Laing's words, not mine), metal mount, better build quality (also the usual Canon lettering and symbols on the buttons) and NFC. Everything else spec wise is the same, and the 40000D will launch for 380 euros body only (https://camerajabber.com/canon-eos-4000d-rebel-t100-price-specs-release-date-confirmed/) and 430euros with the same lens (without the bag and card obvisouly). I will gladly pay less and get a better camera, + a lens, + a bag (it's free, why not) and a 16GB SD card. This thread has nothing to do with Canon, this camera sucks big time. The fact that people trying to win the "argument" shows more about the man than the camera itself, or Canon for that matter. Edit: I gave my niece a Canon compact I had around when she became 5 years old, when she became 8, I gave her a Fuji bridge camera (full manual control and all), next one, probably would be a small mirrorless, I have plenty over here, but not yet, the whole concept of having a system is a bit too much for kids, I do not understand how a 5-8 years old kid, or 9 or 10 (then we are talking about pre teen and teen years, which is a whole other deal) can cope with having/owing/using a whole photographic system with a bag with lenses e.t.c In the beginning, she was just using it. Later on we talked a little about the frame and discussed some of her pictures. Then she learn how to charge the camera (from USB) and how to insert the SD card and save the files on the computer. I am not sure she is ready to talk about shutter speeds and equivalence yet!

Whatever source is providing the ambient lighting, there looks like there's some serious diffusion going on. The shadows have a very soft falloff rate and thats complimenting the modern structures and decor. It's giving it a "clean" look. I'm sure with modern interior design, these types of videos sell the cool factor all on their own. In some of the shots the sky is on the verge of clipping so it tells me they shot to the right a little. I don't do real estate so I have no idea if this is a common trend or technique, but I'm guessing seeing the details of the property is pretty important, rather than say the sky? On your own example you need to work on your gimbal skills a little. The movement is not seamless and steady. You seem to speed up, then slow down at various intervals, it stood out to me right away. Also, you pan rather quickly, compared to the other example video, is that intentional? When you walk with the gimbal, are you doing the heel to toe method?

Where are you finding an LS1S for $450?

Thanks @noone I found one for less than $300 and although 35mm is one of my favorite focal lengths, it still covers the wider range I would never really buy. For car interiors and other tight spaces, it should do me well. And from what I understand it matches color of other EF lenses?

I had a Zeiss Jena 58 f2 Biotar. Very very small and light though solid metal. Contrast was low but quite sharp and had 17 blades and no click stops. Only single coated (from the early 1950s I think). Wish I had kept it now, would have been fun to use FF. I have an old EF 20-35 2.8 L. Mine was unusable for a year or so until recently as I couldn't move the AF/MF switch but in desperation, I took the switch out and at least it works now. I use it MF on my Sony but have put it back to AF and loaned it to a friend and it still works great on their crop Canon (with tape over the hole where the switch was). I wouldn't call it prime lens quality (at least not the better primes) but in the centre it is very good and on crop cameras the side wont matter so much. If I didn't like using primes with clear zoom so much for jpegs and video on my A7s, I would use the lens a lot more. You have to remember this was a pro lens with film and early digital but was replaced by the 17-35 2.8 L which was replaced by the 16-35 2.8 L which was replaced by the 16-35 2.8 L ii which has been replaced by the 16-35 2.8 l iii. It is still pretty decent and a solid piece of work and I do like it though I suspect I will have difficulty prying it away from my friends daughter.

For me, "mojo" is that certain je ne sais quoi present only in certain images, or with certain lenses. I agree with Matthias, it's more easily seen in stills than it is in motion. In my own images, I remember the first time I really felt its presence was after I got the Sigma 18-35, especially with stills. There was just this... gloss... to the images: how the glass rendered things, the focus fall-off, the quality of the light — that I found to be simply incredible. Even the most mundane, ordinary object — like an empty chair, sitting in the sun — can take on this transformative, seemingly magical quality when you're staring at it through the right lens. I have seen this same indefinable image magic with the aforementioned Sigma 18-35, the Nikkor 28mm f/2.8 AIS, and most especially the Contax Zeiss 50mm 1.7, regardless of which cameras I have paired them with (70D, EOS M, NX500, NX1, A7SII, GH4, GH5) so glass definitely matters. It's not about sharpness, either. There's just something there that I think we're all familiar with, that gives some soul to an image. Obviously lighting is important. White balance is important. Color is important. Composition is crucial. But I don't think you can really pin down in black and white, pure terms what you can or can't do that necessarily makes one image seem transcendental and special and another one mundane and disappointingly ordinary. I have my own personal recipe for what makes an image appealing and I'm sure the rest of you do as well. The fact that all of these recipes probably have different ingredients is what makes playing with cameras so fun, I mean how boring would it be if every movie looked exactly the same?!

A pair of good quality 1x1 led panels from Aputure with 95+CRI to bring the inside lighting up by a few stops. Fire one up at the ceiling and use the other to simulate the feeling that there's light coming from a window out of shot. With $900 invested in a pair of LS-1 panels you'll be laughing.

At my store the Canon 2000d is cheaper than the Nikon d3400. Both 24mp, both metal mounts. One is newer. To a noob thats a big deal. I dont know how many times I see threads where they skip what they get recommend because the guy in the store said something else was "newer".

It's real estate. As they say: "Location, location, location." Basically, it's even naturally lit rooms with lots of ambient light so you don't need 13 stops of DR. I've shot similar with a lowly 5DII. High end properties are designed by high end architects that know what they're doing. Light is a very high priority consideration. Thus, these properties just look awesome all around. You're shooting in space that has already considered the stuff that makes for impressive visuals. This is high-end marketing so they're probably on a really good camera, but I'm not seeing anything too surprising regarding some impressively extended DR. In fact, looks like they're over exposing a bit to grab shadow details.

Actually, well exposed you can do wonderful things with 8 bit, if you choose the right software. But if you shoot log/HLG or plan to do a lot of grading/keying/vfx insert, and don't want any banding or artefact, 10bit is nessecary for perfect results. That being said, "perfect" depends a lot of your sensitivity, your eyes, and of course, the broadcast media. Since I have a GH5 with its 10 bit, my videos are not fundamentally better, but I'm more satisfied about what I can do in postprod

I'm using sometimes nd graduated filters if not moving the camera (or sometimes on slider, when the movement is not changing light area borders). When you can use it, the results are amazing (at least for an amateur, like me): no problem to get +3 stops of dynamic range. When the grad is not too hard, the border is not easy to spot even if it does not fit so well to the scene. Additionally, polarizing filter helps a little.

The company that made the film are called Red Screen Productions. Completely wild guess/speculation but if the company name is a clue then it might be shot on a RED in HDRx mode.

You had fairly good interior light in your video. Forgive my ignorance as I haven’t shot with cine2 profile very often, but couldn’t you spot meter the interior and exterior and split the difference so you don’t have to push or pull either too much? Or over expose the exterior by +1.7-2 stops and then pull down your exposure in post. I know you’re not a fan of sLog2 but I believe the official Sony LUTS work fairly well? Or I’ve read that anyway. Also, auto iso works fairly well on the a6500, so test that as well.

Its not exactly easy to just look at an image and determine the stops needed (and Im not the guy qualified to answer). But yes, to my eye 13 looks more than enough. In many of the shots its even less. Its simply a very bright room.

Blackmagic Micro Cinema Camera, Panasonic Leica 15mm/25mm/42.5mm Lenses.

Tape some fishing line vertically over your smartphone camera lens. Boom, horizontal optical flares. You're welcome. ?

Be careful with this, it's not verified by Samsung. It's still a rumor.

https://www.canon-europe.com/cameras/eos-4000d/ 18megapixels sensor (from 2009), and seems like a plastic mount.

HOLY SHIT!!!

Do you mean 'M' on the mode dial, or with the mode dial set to 'Creative movie mode' (the 'movie camera' icon) and then setting that into 'M' mode (via the touchscreen). To get full exposure control for video you need to select 'Creative movie mode' on the mode dial. Then use the icon at the top-left corner of the LCD screen to select P/A/S/M for 'Creative movie mode' (only). Pressing the movie record button when the mode dial is in P/A/S/M positions (which control the exposure mode for still photos) will always use auto exposure for video.

Don't buy a C300ii... It's too expensive... And the demand for it will lessen faster, because it's been on the market for a while now. You have a safer bet with the C200. I see a real potential in Kinfinity cams, especially 6K... It's also an exotic import that people will try in the rental realm. Even the blackmagic 4.6K is potentially something people would rent. How about this... You go talk to one of the rental houses near you. Ask them advice about which camera you should invest in.. and see if you can strike a deal with them too. I had the C500, and I sold that too. But that guy was telling me to sell it and invest in an $8K follow focus cause that would be rented out more often than my Raven. In any case, I walked out of this with amazing connections. Most of my jobs are through this Rental house, and from time to time I rent my equipment on a discount.

Maybe not my best and certainly not the video in which I was paid more or had the most production values and toys to play with. Still I'm really happy about the reception it got from a lot of people in this small country I-m currently living in (Dominican Republic, Caribbean). This music video was shot during a couple of afternoons with some friends with a lended camera.. For those who don-t speak Spanish the song is about a survivour of domestic abuse.

It's great that you both see that the D3400 is a better choice and with the cheapo 4000D Canon is targeting noobs that don't know better. That was the point of most articles critical of the camera including the OP.