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@Dan Wake Please understand that if you've never used a motorized gimbal before, do not use it without some practice first. These things are great, but they're no magic bullet. Keep your knees bent and walk heel to toe. You'll look like a complete derp, but your footage will thank you in post.

The answer is yes and no. Yes: do it is post! (as I've said a few times beforehand.....) iZotope RX6 Advanced is affordable. No: no, because nothing else exists like the DNS2 as a portable piece of hardware you can use in your bag. Top tip: turn off AC

Believe it or not but Fuji has stated the larger body is in part to accommodate the new IBIS system specifically developed for H1. There are videos showing said mechanism, it isn't the most compact. Sorry but it seems you actually totally missed the point. It's not about bigger is less amateur. It's about tougher build quality, and better weight balance for bigger lenses as well as enhanced handling with a deeper grip and to serve multiple uses including gloves etc.. As for your stats, pros may be declining but amateurs tend to aim more & more towards high-end.. also last time i checked Fuji/Sony/etc still sell a vast array of prosumer/consumer bodies..

Here are a few things I've shot with Rokinon lenses (10, 12, 16, 24, 35): These are mostly BMPCC, and a couple of NX1 videos, but they can at least give you a rough idea of their quality. I never ended up using it in any of my posted videos (just a couple of tests), but I also used to own the 50mm 1.4. I'd say the 12mm 2.2 (MFT, not the fisheye one of APS-C), 16, and 50 were the sharpest and most modern-looking ones I owned. I shot my latest short film "Chicken" almost entirely on the 16mm with the a6300, but I can't post that yet.

@AaronChicago 8 x 4ft crossfades 4 x 2ft crossfades 2 x 4 by 4ft kino shells 2 x 2 by 2ft kino shells 4 x baby pin kino mounts 8 x lamp holders with baby pin 2 x 4 lamp wiring harnesses 2 x 2 lamp wiring harnesses 12 x 1 lamp wiring harnesses I was going to buy carrying cases for the lamps but the housings work ok for transport. Based in Canada btw. There's only a single seller for the Quasars up here. I think that drives up rental demand.

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

It is laughable that they made the autofocus worse using the same sensor. Even if they can improve it in a firmware update it just goes to show their own incompetency. I would not have said anything but for the fact that they advertised 4k face detect autofocus as a feature Not to mention the ibis is super jittery in video mode and all but unusable compared to the GH5. For what it is, a stills camera, it is very good. But I would be loath to use it for anything but that.

It may be worth going to the AbleCine website and going through their blog entries. If I recall they used to have a number of very nice F3 S-Log luts available as well as some good information relating to processing the original S-Log curve. S-Gamut was only when the F65 was released to coincide with S-Log2. There are lots of S-Log2 luts around which will only need very fine adjustment if used on F3 footage. Throw some onto the footage and have a play. I expect they'll get you close.

Since when did we start blaming cameras for "over exposure"?

I think Mark is saying he has like a half an hour to get in and out, so extra lighting will have to be minimal. I think he does the photos and video... so he basically has enough time for a walkthrough.

Hey Matt, thanks so much...I really appreciate it! And please feel free to continue sharing with anyone whom you think might find my work useful. Sorry I couldn't post last week...I was at a photography conference for 4 days and then spent last weekend shooting a new film. Anyhow, here are some new tracks for everyone: On my Sci-Fi 6 page: "A Heist in the Outer Rim" (Looping) http://soundimage.org/sci-fi-6/ On my City/Urban 2 page: "Moonlight Break In" (Looping) http://soundimage.org/city-urban-2/ On my Puzzle Music 3 page: "Digital Dreaming" (Looping) http://soundimage.org/puzzle-music-3/ On my Positive Upbeat Page: "Bouncing Around Town" (Looping) http://soundimage.org/positive-upbeat/ On my Drama 2 page: "Trouble in Town" (Looping) http://soundimage.org/drama-2/ Have a good week!

LOL! Yes, if you DON'T look like a complete derp, then you are doing it wrong. On the other hand, just because one normally looks like a derp doesn't mean one will be naturally good at using a gimbal

Not looking good: The videos you can find about X-H1 AF in video show the same results. Either everyone is doing it wrong or something is wrong with the AF of this body.

This video is absolutely wonderful, completely changes how I edit LOG from now on. Thanks!

@pszilard The recording limit is there because of the overheating, not any European law, that is why without the grip it does half the recording time (there is not tax for more than 10 minutes video recording!). Fuji uses the similar Sony sensors that is well known and documented that overheat quite a lot (look at a6XXX issues with overheating and "do not touch the camera" warnings and the such). "it only lets you record up to 10 minutes at once -- unless you have that external grip. The company claims it made that decision in order to keep the camera from overheating"* Interesting (Velbon-)Octopus setup there! Definitely you do not do a lot of run and gun stuff! Enjoy your buying. (* = https://www.engadget.com/2016/10/06/fujifilm-x-t2-review/)

I bought the Velbon LB-2 a long time ago, and hardly used it until it came to video. I like the fact that the camera is not restrained and that I can lower the arms and therefore the centre of gravity for the combined rig. This reduces the adverse effect of building a tower on top of the camera. I can attach a Zoom F8 to the right hand arm if I need to record more than 2 channels of audio.

It is ok and wide enough though the biggest issue is you have to use the M/A switch so can not just grab the focus ring (at least it wont break if you do like some others do). It has a distance window too.

I had the A7RIII for a few weeks but especially with an adapter, the camera body is a tad too small. Knuckles get in the way of the lens adapter. The body is also not well balanced with heavier lenses. I woman wedding photographer said she was getting severe hand cramps from shooting with the smaller body all day. If you are using the camera on a tripod, I guess it doesn't matter but one should at least consider how it balances and how it feels. Adding a battery grip would probably help balance it better. With that said, Sony is going to sell a boatload of A7III's.

One more time in English.

Some of us with smaller hands actually like the size of the A7 series of cameras. Before to get one of the higher end models you had to get some large and even mid range DSLRS feel massive and awkward. You can make the A7 a big larger with the grip but it's hard to make a camera smaller than it already is. It's great to finally have some different size options available across the market, it's highly unlikely there will ever be a one size fits all camera unless it's modular.

A lot of kickstarters run late and have poor communication, still hoping that is the case here as I think it will be useful (and I've shelled out money for it). Andrew having one as well showed that the prototype did exist and they looked serious about it. My gambit of pinging Frank on here as there was no answer to all the comments on kickstarter hasn't shed any further light though. Still fingers crossed and hopefully some news will be revealed sooner rather than later on the actual ship date.

I was like that when I picked up the A9. If I was Sony I'd ban stores from displaying it without the grip as if you're trying to get someone to switch from 1Dx or D5 it feels small in an off putting way ! They've finally done the 400 f2.8 for it which in the pictures I've seen of it they've also not put the grip on the camera. It looks like a Smart Car towing an Airstream.

@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

I would love to know 'what' mojo is, but I don't think anyone will be able to answer in detail, so in the absence of a detailed description I'm happy to try and approach it from a different direction, which is to ask where are the examples of it and what is it that we can describe? My underlying motive for all this is to 'learn to see'. I am relatively new to 'real' cinematography / editing / colour work (or compared to some of you I'm a complete noob!) and I don't yet really know what I like, and when I see something that looks nice I can stare at it but I just don't really know what I'm looking at. Thus, all my questions. I am also a very logical person and the inner voice that reacts to creative content is quieter, so I have to learn to listen to it, and when I do it's harder to understand the subtleties of what it is telling me. Many people have made the very valid point that it's just a matter of putting in the work, and being organised: shoot, take notes, evaluate the result, analyse the notes; or pick something I like from a film and try and shoot it, dozens and dozens of times if necessary; and I would also add in others like find tutorials grading sample footage that is available and try to follow along. This methodology is excellent, but it makes sense to combine the work of making your own discoveries with the wisdom and knowledge of others, which is what this thread is. Since starting this thread I have shot, edited, and graded two ~1 minute long short films (about my fish - a well lit and reliable subject!) and done two other camera tests where I'm filming the same thing only changing one parameter then comparing the results, so I'm pushing forwards and learning things each time.

I had a fresh look at some old NX1 files because I can now open them natively in latest Mac OS I was astonished at the high quality of the NX1 h265 files, compared to the Edit Ready converted files I used back at the time (I tried every h265 conversion software) I think if Mac native h265 had been available at the time the NX1 would have been better received I think all the DR problems, heavy contrast, highlight clipping you often see on NX1 footage is due to bad h265 conversion software, the native files look superb on a new High Sierra MacBook Pro

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.

No offense but this is BS. There are a lot more than a few people making money with 8-bit cameras. From YouTubers, to wedding/corporate/commercial videographers, R&G, indie film etc.. one could argue 8-bit is "the normal thing". Not sure what you consider the "industry" but there is now a whole new digital platform outside of broadcast television that doesn't care about any old "standards". (which btw is what.. BBC/EBU standards?) Even cinema doesn't really care.. Soderbergh's next movie was shot entirely on iPhone 7+ and just premiered at Berlin Film festival last month.. Anyways i sense trolling.. because we all know only a single mirrorless/dslr camera exists on the market today that shoots 10-bit internally. So.. just get that or pony up for a pro video cam. Easy.

Thanks. We should be releasing a trailer in the next month or so. We are about 60 percent done editing. Had to grab some pick up scenes. For lenses, I like using older ones for NX1. I shot at 2-2.8 split. This camera has some really deep inky blacks, which I love, but using older lenses lowers the contrast, which gives me an extra half to 3/4 stop when used in conjunction with filters. Generally I expose for mood. I use white pro mist/soft fx filters, fog/haze, nets to roll off harsh highlights or under expose to protect important highlights or just look in another direction to avoid them. I've found through testing that I can safely recover about 1.5 stop of shadow detail before the image begins falling apart. But honestly I just let things go dark. I rarely recover shadows. But if i need too, i know i can. If theres something that needs to be seen, I'll generally bring in a light fill bounce/light to bring up levels. I don't rely on bumping up iso. Messes with grain texture too much. I like to keep images clean and consistent. I rarely go above 400 iso. Sometimes 800 if I'm short on time. My thought process with limited DR cameras is to shoot for end goal. WYSIWYG. We were influenced by Netflix Daredevil, which also goes pretty dark. You definitely have to have trust. Producers and Directors get scared of that amount of darkness. I always keep reference images on my phone to show them just in case. Here are some additional images and BTS screens. A rough clip of some pick up shoots. We haven't color graded, stabilized or fine tuned the edit. This is literally something I threw together to see how the scene feels. It's low bitrate to keep size down. The original is really clean. I also use rolling shutter repair on most clips. It helps with motion cadence in my eyes. The fight scene was shoot last year. Again, another rough cut. Test Scene Maya Conner.mp4 Fight Scene Test.mp4

Rai TV (italia) came to me to cover an event I've organized in Poland. The cam operator had a Canon C100 mkII but he has never used autofocus at all during the whole duration of the event, it is not reliable enough according to him. It seems that pros don't use autofocus at all, neither on Sony or Canon cameras or whatever. Questioning the pro might be more reliable than forum.