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Yes, this a x1000 over. It is an affliction and lots of ppl on every level of proficiency and skill get caught up in it one way or another. It never fails on any set I've been on. Someone in the crew is going to start talking shop and I'm guilty of getting caught up in those conversations, even though I consciously try to aviod it, because the "mojo" is not there. I honestly care only to the degree of whether or not I'm happy with the shot and the massaging is on point. Obviously, most ppl are not okay with a crap image unless that is the narrative. My highschool photography teacher was a huge technical shooter. I spent so much time making sure I was exploring my creativity in every assignment and all he could do was comment and grade me on nitpicking my "exposure". (Celluloid) He was awful to me and would shame me quite often. I would hate having to bring up my contact sheet or review. The bastard would call out my last name and then freaking let out a loud sigh. ? My second year I took 1st place in a statewide competition, for the category of "creativity". (Not that my exposure had issues) My teacher had to eat his lunch. I was happier about that than winning the prize. ? Not to put ppl in a box, but I learned a long time ago that there are technical shooters, let's call them craftsmen, and then there are creative/narrative shooters we deem as artists. Both could learn a lot from eachother. That being said, creativity is hard to teach. I actually think to tap into creativity you have to be a little clinically insane, which is a mental state a technical person would find very uncomfortable, because it involves intuition and a bit of chaos, rather than hard-concrete controlled facts. This very thread got really unhealthy really quick. People were attacking one another's preferences, which arent really debatable. You like what you like. And what you might like today, you might hate tomorrow. It just doesn't matter, and everyone here is worth more than the sum of their preferences.

This forum recently has a worrying trend of posters pulling statistics out of their ass. Unless you can back it up, please don't use them to back up your point.

Many many people have discovered a sure fire way to kill their passion is to try and turn it into an income/career!

I got to use my Canon TV-16 25mm 1.4 on an actual shoot (an eating competition show on youtube--my first time directing an episode as well). This was shot wide open.

The only thing that this picture "proves" (coupled with your comment) is your bias towards women. I suggest you take the Gender-Career implicit association test found here: https://implicit.harvard.edu/implicit/

Not quite correct, but pretty good guessing ! Will explain if nobody else is giving his guess anymore. By the way, I am already quite happy with the way the minolta 35mm 2.8 and 50mm 1.4 render colors. I just did a quick edit. First pic is 50mm second pic 35mm. The 35mm made the already nice scenery 20 mins ago when the sun was going down even more beautiful. Incredible sharpness too.

This. Too many of the old guard have failed to adapt with the times and thus wonder why their incomes have fallen off a cliff.

Sony FS5 Slog2 RAW 12bit 120 FPS->Shogun Inferno Pro Res HQ->DNxHR HQ 422 10bit REC2020 30P HLG. Yes, you only can get 4-second clips.

i know quite a few female fotogs and fwiw they're all on Canikon DSLRs. In the fashion street photography scene (big industry here in Paris) it's almost all Canon 5Ds / 1DXs. requirements are battery life, weather sealing & SOOC skin tones. Weather sealing because sometimes you're out on the street for hours shooting during downpour, SOOC skin tones because it's a race to get pics online and subjects must look good. Sony have improved battery life & ergonomics but weather sealing, color science & menus are still poor. IMO they mostly cater to enthusiasts, semi-pros & general fields. few examples: ..and no these aren't posers but actual pros who earn up to $5K-$10K during each fashion week (which if they travel is 12 events per year). so much for the poor old fat second-class citizen comment..

Although it’s fun to experiment with different lenses, for the cost of a 3 day rental, you can be halfway to the cost of ai-s 35mm 1.4 or buy an ai-s 35mm f2 outright. Or it could be money towards a Zeiss 50mm 1.4 ZF.2 which has been reviewed as being pretty close to superspeeds for a still lens. Sure the Otus will blow away those older Nikkors and the ZF.2 but in the end, the owned lens will be a better investment.

Cinema lenses aren't much different to stills lenses in terms of image quality until you go vintage primes like k35's, old superspeeds and lomo zeiss copies or go for the top end like cooke S4, Zeiss Master Primes or Leica C-Summilux . OTUS lenses are available in nikon mount and at £3000 to buy, it is well worth renting for a few days to get a taste of the sharpest most refined 28mm f/1.4 ever. It's a manual focus lens too, so focusing is really nice for video. Most try before you buy style camera rental companies will have otus lenses in stock and it will probably be similar rental price to a zeiss compact prime. I suggest spending your money renting an OTUS because it will genuinely be an interesting lens to use for someone experimenting. Just be warned you may end up buying one after using it for a few days. Insane lens.

Unless you're renting an entire set there's not much point. Low end modern zeiss glass isn't very exciting (even the cinema variety). Until you go to Ultra Primes or Master primes they're all pretty dull and lifeless. Rent a 28mm Otus instead. Now that's a cool lens on both aps-c and full frame!

look ma no hands sharpening or grain necessary!

It definitely takes some trial and error b/c the monitor is so bright, and can display wider DR that was is seen on most monitors. It's great for the field b/c you see super detailed things that are hard to see on a 7" and pixel peep on the DR. For grading, it takes a bit of getting used to. I keep a window open on my Dell 4K monitor as well to compare what it looks like at 400 NITS, which most people will be viewing.

Here's my grade done in 3DLUT Creator. Attached is the exported LUT as .cube. Marina Foreground Graded 3DLC.cube

Interesting... goes to show you that almost any lens can look good under the right circumstances. I believe the “Beercan” refers to a Minolta A mount zoom. And finally yes, the 24-35mm is awesome. That’s one of the lenses I have up for sale that I regret selling before it’s even sold. I may end up keeping it for Canon Mirrorless though. It’s such a nice little lens on aps-c... basically a 35-50mm... my favorite range. With a Speedbooster on m43 it would be about the same. Actually it probably makes more sense on m43 with a Speedbooster because it turns the kinda slow f/3.5 into a modest f/2.5.

Those are photographs and not 4K screengrabs, right? Either way, they look nice. The motorcycle looks great. Do you have the MD 50mm or the MC PG? I have the latter and I paid $35 for it and it is one of the best lenses I’ve ever owned... especially in B&W. As I said before, I don’t even own a camera that I can use the majority of my Minolta lenses with. But buying one for them sounds like a better idea than selling the lenses... lol.

Also, just know that its all Manual Focus & Manual Aperture Ring. I don't know if your d5300 has focus peaking, but you may have to punch in with the magifier (if you have that ability on the d5300). Good luck.

@canonlyme I prefer the last one the most, which I assume is a Minolta. 3 and 4 seems to render the OOF areas differently, so my guess is that’s the Soligor, or maybe the Beercan? And then the first one has a warmer tonality than MC/MD Minolta lenses usually have, so I’d guess that one is either the Soligor or the Beercan as well? They all look pretty nice though.

Yeah thats a good price. Couple of things, figure out what the Zeiss's native mount is.... I know most cinema lenses are PL, some EF.... but now you have to look into getting an adaptor (thats if you don't have one already). Given that you "had a blast" with the 85mm 1.8, thats a 135mm equivalent on a APS-C... and I can understand why you would like that lens, typical 85mm and/or 135mm are portrait lenses. As for 35mm... its really about taste here... we rarely find people that like the medium length, because it becomes a 50mm equivalent on a APS-C, and yeah everyone talks about the 50mm (because it becomes 85mm equivalent). There are a lot of people that love the wides, if you want true 35mm on APS-C, try the Zeiss 20mm if they have it. If this is about you trying to discover yourself and what you like.... then go for the 35mm.

The need for no limit during video recording is fairly limited for the target audience of these cameras. Hence it is hard for a company to include this feature and increase the price of a camera, unless it is targeted mostly for video like the GH line. What could be done from the side of the camera companies is 1. Have a model for Europe with the limitation and another for the rest of the world 2. Allow users to pay extra for this like the V-log. How easy are these I don't know, but they are definitely doable as Panasonic has shown. I understand that it might not be optimal, but an easy way for the user to get "unlimited" recording time is with the use of an external recorder. Even a 1080p recorder when downsampling from 4K would give excellent results for an interview.

Most folk who shoot 30 minute+ takes are doing it in quite specialised circumstances. If you are leaving a camera on a tripod pointing at a speaker on a platform and pressing record there are 100 other video cameras that can do a decent job. Who shoots more than half and hour shallow DOF video? I am trying to think of the last time I shot more than a minute of anything.

Hi guys! This is a video I made last August in Thailand. It is almost entirely shot with the Samsung NX1 plus Samsung 16mm, 20mm and Canon 50mm 1.8. I used a lut from the Vellichor pack (awesome luts). I'm pretty satisfied with the result. Hope you gonna like it.

..and recently became more "polemic" of their arguments. I remember when we were a mild, peaceful community of farmers - videographers! @sanveerI believe the A7iii is good as it is, but I have to use it first to be more specific. The color science seems a little bit off, and while for people who do a little bit of post it's ok, I see that Sony are behind everyone in the color science department right now, dead last actually. Even Panasonic seems to improve the color science each release, with the GH5s (from what I see online) being the best so far. For the price is perfect as it is, spec wise (and ergonomically I am not 100% sold yet, but they are in the right direction definitely, even for man bags and lady hands!). The different codecs, bits and recording limitations are more important for video orientated cameras such the GH5S and the A7Siii. P.S leave the BBC argument out of it - I am sure BBC is in business more years than us, and they do a lot of things right, because they are the BBC and not Sanveer and Kisaha. I have told people here before, that the BBC and EBU standards are valid and a necessity in the TV industry. I do not believe Sony had BBC and Netflix in mind when they were designing this camera, I do not even know how it came into conversation.

Hey guys, this one is for you to guess. I am currently completing my minolta vintage lense set for gx80 and as it seems it's an endless road. Anyway, I will just let you decide without saying something about the lense. These are pictures from a minolta 135mm 2.8 (60Euros) minolta beercan 70-210 f.4 (80 Euros), minolta 70-210 4.5-5.6 (6 Euros) and a cheap soligor macro zoom. Which one do you like most and can you see the difference? I know the conditions change a fair bit...

About a year ago I bought the Computar 6.5mm 1.8. I knew nothing about the lens, except that it was fixed focus, it was $30, and the seller claimed it covered the sensor of the Pocket. I had written the lens of until now because it was super soft until f/8. Out of curiosity, I decided to try it again, but this time, a light bulb went off in my head. "What if it's soft because it's too close to the sensor and not technically in focus?" So I unscrewed it a little, and everything came into focus, literally and figuratively. It's still not super sharp wide open, but it's what I would deem usable. It gets better at 2.8. 1.8 2.8, with the lens unscrewed even further for a close-up (that's my finger "focusing" in the top right corner, it's not vignetting). It's pretty loose when unscrewed, so I need to figure out a shim solution for this. You can see the lens is distorted, and it's not as nice as the Cosmicar 6.5mm (wish I still had it) but this would be a lens I would use for very stylized shots.

Well, liking the teal and orange look, I tried it out with this image and this is what I got out of Resolve.

Luckily Fuji actually works with firmware updates.

They're not getting away with it. Several videos and discussions about it. Fuji definitely F'ed up. H1 is sold as having superior AF. A firmware fix is bound to come quickly (or sales are going to hurt). I know I'm not be buying one until this is fixed.

Welllllll..... most kiwis don't necessarily think I have a kiwi accent! Even though I was born in NZ and have lived here my entire life (same for both my parents as well! Both kiwis). I've done a fair few videos on other topics about sound, or is there something specific you want? To go step by step through everything in my mixing bag on a typical film shoot? Not sure if I have done that, probably should. Especially now I have the Orca OR30 bag, which makes it much much easier to show to the camera what is in it. I have been meaning to do soon a video showing how different it is now between what my bag looks like set up in the Zoom's F4 specific bag vs in my new Orca bag.

Thanks! You almost need subtitles for those of us not used to the kiwi accent I was hoping you would have gone into how you setup your rig with these stuff in your videos.

oh SNAP! I forgot to tell u guys that i fixed my mac... by doing a scorched earth clean install of high sierra! and? it runs SOOOoooooooo much better i know its a pain in the butt to back up all your data, but my late 2013 imac is running like new. HUGE difference all those OS installs on top of installs were messing a lot of stuff up. big difference!!! just a heads up guys ?

Opinions will of course vary a lot on this point (just like everything else before as well!), but in my personal view the Ultrasync ONE offers the best possible mix of size/features/cost. However having a Tentacle or two for DSLR shoots are nice with their built in scratch mic. You might also look around for secondhand original Tentacles, as you'd just be losing out mainly on bluetooth and the "locking" ish connection.

I'll try to rig it up and send photos and an example video this weekend.

I wouldn't recommend the Rokinon lenses, very bulky and I (subjectively) didn't like the image I was getting, however you might like the look of them!

Thanks! The Rokinons definitely are not compact lenses. Most have 77mm filter threads and are pretty long/bulky.

In what sense is the FS5 "lower end"? Relative to ARRI cameras? The FS7 also shots HLG, speaking of the lower end...

There is a lot of those types... And, I get it... I know Engineers (Civil, Mechanical, Electrical, etc.) who take up photography as a 'hobby', but instead of practicing photography they practice comparing spec sheets. Zooming in to pixel peep and complaining about DR... isn't really an art form (but thats just my opinion).

At the end of the day, its about how you sell yourself (and that has every bit to do with how much you value yourself too). If I was in either the Real Estate biz or even the wedding biz, I would create a tiered pricing approach - along with a demo reel to help the client see what the difference is between what you offer in terms of service (for each price point). For example for real estate: Bronze package: 2 hour shoot - 1 day editing - $500 - Demo reel showing what is included in this price range. Silver package: 4 hour shoot - 1-3 day - $1200 - Demo reel showing what is included in this price range (if the customer is not able to see that much of a difference here, then explain). Gold/Platinum package: 8+ hour shoot - Multi-day editing - $3000 - Demo reel showing what is included in this price range. This is not newbie (I know it all) pricing.... this is.... I've been here for a while, you obviously heard of me and/or seen my work pricing. Obviously, you try to do your best on every single package - don't skimp, because you want to retain a customer, you want repeat customers. At the same time, figure out what you are capable of doing within the set parameters, don't apply nd filters on the window if you only have 2 hours. Nonetheless, you go the extra mile for the Gold/Platinum package - use your own creative facilities for this.... I can't teach you vision and/or creativeness... that's all you. But here is a tip, people have a hard time envisioning themselves in a space and how to fill a space, this is why they have staging (they put rental furniture) to fill a space. Go the extra mile by... I don't know... hire actors (they are a dime a dozen willing to work for cheap - try mandy.com... audition first, Rolodex the good ones for repeat performances, just don't do the same crap in every video), here is an example: get a couple that are engaged in a conversation with a mug of coffee - laughing it up. You don't have to have a real dialogue going on, mute them out and have your choice of music overlayed. Have children running around, or a teen browsing on the ipad nestled on the couch... This is how you sell yourself... BTW, for the gold/platinum package only (actually the best videos in this category), stamp your name and/or company logo on it. Because, if its a good video, people will associate the video with the person creating it not the real estate agent selling the home, thereafter - depending on the demand - you adjust the price. Editted to add: If you are new to this.... I would throw in some stuff for free the first few times.... its like how drug dealers throw it in till you are hooked on it approach

Trust me, it's bewildering to many Americans as well. I won't get into political conversations here, so if anyone has a retort you will not get a follow up from me. But we definitely need a good overall of our public policies in my country. Webrunner's story is not unlike many, many Americans. Statistics show that many Americans are roughly a paycheck away from total poverty and many go bankrupt with medical bills, even with having insurance. I recently had a talk with my 13-year old son about what to do if some crazed individual comes to his school with a weapon. Not a conversation I ever imaged I'd have to have with my children. It's surreal.

This type of attitude is a sure way of failing at it. That's for sure. I don't have the energy to go into long texts about adapting to how the industry is developing, branching out, multi tasking, etc. But in short you are wrong. The only once that won't make it is the guy expecting to sit at home and then get approached by clients who just want someone to press a shutter button. I have worked as a journalist, in marketing and public relations for small companies as well as huge global players and government agencies for over ten years now. And believe me, there is a lot of jobs where being skilled as a photographer is more than just icing on the resume.

I also very much want to know your settings for rolling shutter repair. It bugs me to no end with this cam, especially with things like cars. Production and design look absolutely amazing!

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.

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.

Its a Canon, very happy with it for 6 months and counting. I don't remember the exact model, I will look it up. Just be aware that its a pandoras box. Because there is a lot of different types of paper out there.

When you said you don't see a difference I respected that opinion. I gave my opinion but respected yours. You however are trying to force your crap on me and are trying to say "Im right and anyone not agreeing is an idiot". The only thing I take away from that is that you are not a photographer. You haven't convinced me of anything except that. In my eyes you are now a camera guy. There is no need to debate or argue about this. You see one thing, I see another. Respect it and move on.

I used to drive a nice oldtimer. A classic Jeep. A nice one. It's a very stylish and cool car. And for driving and transportation, it's way ahead ot any cheap Toyota at maximum of 2.000 $ you can get today. Driving this car regularly was a joy. The glorification of modern digital is BS. I have dozens of HQ (even on metal paper) prints proving this. Just say: "I don't like it!" Saying it's not unique, is saying you are not able to see the look when working with film out of a classic camera. And yes, you need hours to get the same look. With film it's a matter of minutes. Just do a blind A/B test...

Something kinda like this: - edit, day later altn version with curve/slight color adjustment (it's funny how you see things could be differently with fresh eyes):

That's you who tries to sell your opinion as fact. You get more and more ridiculous. 2+2=4 - that's math and NOT a matter of opinion. Just stop trying to redefine axioms. Even personal attacks don't make your crude theories become true.