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The Resident is “only” shot 1920, but it’s 444ProRes, so 12 bit. Fox only air in 720 remember ! I’d say the majority of TV production in the US is still 1920 ProRes. They’re not interested AT ALL in 4K. JB

I thought they’d already discontinued the pocket ? Watch that become a cult camera if it isn’t already. I think they’ll keep the micro going for some time. It’s really a different camera. In the photo above the camera has a wooden camera cage, a Noga arm and a BMD 5” VA as the operating monitor. On front is the SLR Magic 10mm T2.1. I’m manually focussing myself, using peaking on the VA. By way of example almost all of this promo is either Ursa Mini Pro or Micro using that exact rig. This whole scene is shot Ursa Mini Pro I have used a LOT of Ursa Mini Pro and Micro in the resident. Not just as an insert camera, but shooting whole scenes using only the Ursa Mini Pro. Most scenes have a mix of Ursa Mini Pro and ALexa, and I’d estimate more than 40% of the show is Ursa Mini. I tend to use the micro camera for these kinds of surgery shots where I can very easily reach into the scene and get super close before diving down to almost inside the surgical field, and then transitioning back to another actor. It keeps it very agile and alive shooting this way. I’d anticipate the Pocket 2 will replace this rig for these kinds of shots. JB

Something imminent this way comes! You can get the new PDF here Edge/Explorer or Safari recommended for accurate color; Avoid Firefox!

I think you’ll find the pocket is EOL. I have a few different camera builds for different jobs. Ursa gets used when we need to be hyper intimate with the actors. It’s smaller build means you can go inside the acting space. It gives you more intimate and more reactive coverage. I call this visual jazz. A scene like the two hander with the leads conspiring together is perfect for this. The operating is very improvised. I do multiple takes with very short reset times. On each pass I emphasise different story telling beats, taking my cues from the actors themselves. Between each setup, often without cutting I tell the actors what I’m hoping to catch and then we dance. Each take has a different story beat emphasis. I try to build in the insert shots (like the phone) and also build in trades between the cast to emphasise story moments. Sometimes you’ll do a regular pass with three cameras, all Alexa. This tends to be more conventional storytelling coverage. Then we do a “football” pass with the Ursa at the end in the manner I listed above. A first started calling it a football because that’s about the size of the camera and the way I tend to hold it. I have used the Olympus a little, but not much on the Resident. I tend to use the EM1 for its stabiliser and small size.injust did a pilot where we used it a bit. JB

He answered many times on various forums that it's basically smaller and lighter so you can handhold it and get the shots you want. Alexa is a huge camera and hard to wield. Alexa Mini is smaller than Ursa Mini/Pro but it's a nightmare in terms of ergonomics so you have to rig it and then it's larger. So it's more/less a matter of which camera is easier to use to get the shots you need. He does use Olympus EM-1 Mark II as well on the show. Actually sometimes the Ursa Mini Pro is actually a BETTER camera image-wise too. It has much more shadow dynamic range vs the Alexa so it tends to look better in low-light. I'd also say it has slightly more FPN if you have to lift the blacks of your image (which you never do), but in the upper and midrange it's a cleaner image. In the scene he linked of Nevin and Hawkins privately chatting in one of the rooms, the Ursa Mini likely performs better than the Alexa would in the same situation.

Thought it would be interesting to share the BTS videos we take on shoots. This is BTS from a car mount shoot, and what I did to capture the audio:

So, I’m at the point where I am about to start shooting dialogue scenes for my film. Being a one man band, guerrilla shooter, I need my set up to be as quick and easy and inconspicuous as possible. I’ve used the H1 and the DR-05 but they’re both a little big for my set up. Right now, I have two Olympus LS-7 field recorders and I love the quality and how small they are. I can have one attached to the top of my camera with a small shotgun and then have another in my actor’s pocket with a lav. They will do fine if need be, but I figured I’d explore my options. I always liked the size of the Zoom H2/H2N... small but not tiny with external controls. And I’ve heard/seen some filmmakers use the whole recorder attached to a boom pole using only the onboard mic. But I know they’re pretty dated and assume there are better options out there. So I looked around last night and came across the Zoom H5. Anybody have any experience with it? I have acces to a couple Rode NTG mics, so the onboard XLR inputs seem interesting but as I understand it, the onboard mic unit is modular... will the recorder work without any of those modular units attached? Because it seems like the perfect size without it. I figured I could pick up one or two of their new pocket recorders for lav mics and then run an XLR shotgun and maybe an XLR lav from the other input on the H5. I know this isn’t ideal, @IronFilm but I NEED the small footprint, so is it usable? If not, any creative ideas out there to get good audio with a cheap and easy workflow that one person can operate? Also, does the old line in/out trick from external recorders really work to bypass DSLR preamps?

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!

Funnily enough, I’m only interested in 1080p as well. The show looks gorgeous and I can’t imagine it would look any better in 4K. Hell sometimes I see movies on my 1080p TV and it looks better than my eyes normally see the world. Btw, thanks for being so open about the production.

And for it to be powered by a commercially viable nuclear fusion reactor of course.

Thank you for V2 version! did you shoot this sample :"GHa Daylight Sample 8.jpg" in CINE-d profile? Doesn`t look like a VLOG

Great work man! Can't wait to try out the Cine D conversion. Was avoiding 60p for many reasons until now (1080p60 10 bit is oversharpened, UHD60p 8 bit in V-Log is almost as messy as GH4 8 Bit V-log was...)

"I am pleased to announce GHa V2, the reference grade update. For the last six months (since original release), I have been building a new version of the conversion from the ground up, to achieve a new standard of precision and smoothness (silk gradients). The changes in V2: - 25x the Number of Color Samples (25k Per Camera) - Custom Coded C++ Color Engine (Smooth Interpolation) - Alexa On Hand (For Repeated Iteration) - Corrected Lens Distortion of Original Conversion - Smarter Handling of of Exposure Placement to Maximize DR (both Emotive Color and LogC) - Cine-D Support (and Improved [PRE]s) - Premiere Pro Specific [PRE]s (for VLog & Others) - Improved Documentation" Here is the new PDF Emotion II (Updated to V2) (Edge/Explorer or Safari recommended for most accurate color; Chrome/Opera Ok; Avoid Firefox)

@tihon84 Using a gray card is ideal. You'll want the gray card to reflect the key light Lenses with non-neutral grayscales will essentially 'shift' balance slightly throughout the grayscale. This is to be expected; its part of the 'character' of the lens A gray card will avoid complications of a white paper (tint/transparency). When it comes to minor adjustments of white balance, using the post WB tools (eyedropper/tint/temp) works very well (Its ideal to make sure that white balance is generally correct on set)

The new drug is the attention they get from posting the 'activities' online.

I would rather get the Xiaomi 4K+ for a portion of the money, and save the rest for other equipment. Yes, the 6 is the best GoPro ever, but other can make 95% of that, or better in some areas, for a percentage of the total cost. DJI can make one tomorrow, and beat GoPro easily. Some people believe that a mobile phone is good enough for most photo/video catching, some say they are good to shot a film (some in this forum!), I disagree of course, but if people consider a phone is comparable with a normal camera with a huge sensor, you get the point where the action cams stand right now. Just get a Smooth Q stabilizer for your phone, and pass it around people in lock mode, a lot cheaper, and arguably, similar quality. The magic word is 1", when everything becomes 1", then they would be comparable to a real camera and I will care more about them. People doing action activities are at its top ever, and world wide, a lot more than the 80's, 90's and the 00's were the hip thing to do was to do drugs and be wasted! I am joking, but action lifestyle and a healthy way of life became a thing the last decade, and right now, even McDonald's in UK offering "less that 400 calories" options in their menu, and organic foods are a thing (a very expensive one), while there are new extreme activities been invented, almost every month. In some countries people are given money to buy bikes to go to their jobs, and every summer there is a new thing I see people do on the beach that it doesn't even have a name! My LG has a 14mm ultra wide lens, and a 29mm one, OIS and EIS, 1.8f, 4K recording and 1080/120 and full M, by the way. Oh, and it has passed 18 military standards, so it is 810G military standard accredited — including temperature and environmental extremes, pressure, vibration, and shock, as well as salt, sand, dust, and water immersion. (http://www.lg.com/us/mobile-phones/g6/quality).

The C100 sensor is a classic one, I wouldn't expect the M50 to be that good (in low light performance, as well). It makes me wonder, why just not Canon implement a better codec on this camera, and keep it relevant a lot more than it is (I already used the C100mkII in 2 projects this year, GH5 and my Samsung in the rest, so C100 is still relevant, but you know what I mean). All the reviews of the 11-22mm I have read, speak about an ultra sharp lens, even wide open, I could guess if you stopped down to 5.6f that would be enough to match most primes. It is a good lens. M50 is an interesting little camera, but as Canon describe it, is an entry level M camera, so I wouldn't expect much of it. I am pretty confident that we will see more M cameras, soon, and they will be a lot more exciting. Top wish? A pro M body, a camera that can truly replace my NX1 as a hybrid with amazing ergonomics/touch screen implementation and focus.

Yeah DPR is a little bit weak on video stuff. Having those two on there will be a big boost to it.

While it is true that the problem is not MOUNT compatibility, the facts are that the oldest lenses can in some cases break the mirror of some cameras and that even still current cameras will not work with the LATEST lenses. As for compatibility, well you can even mount and use AI/AIS Nikon lenses on Pentax cameras if you are careful (do this at your own risk). I once got a damaged old Nikon 35 1.4 and a battered old Nikon 85 1.8 to use on Pentax bare without adapters and I preferred the 85 on the Pentaxes to my old Nikon D50. The 85 worked well on my Sony too (with adapter) but I recently gave it away to a friends daughter for use on her Nikon DSLR but had to warn her to check first if it would break the mirror on her camera.

Yeah. I work in VFX and every show I've ever worked on is Prores 4:4:4. Never had the luxury of an Arriraw show other than maybe a few Game of Thrones shots (not sure if they were raw) but I don't think it would make much of a difference. The only real difference between RAW and Prores that I see is that you can adjust your exposure using linear sensor values which makes it generally easier to just slide up and down the exposure. With log, it's a bit more tricky and using a color space transform to linearize helps too. But even then, that's not a huge issue unless you expose incorrectly which shouldn't happen. Maybe if you have moire/aliasing you can change how you debayer to help hide some of that too, but I don't work in that area so I wouldn't know how much that helps. Other people at work sometimes blame keying errors on the internal sharpening that some of our shows shoot with, but I haven't found it a huge problem.

There are modified Go Pro 6 available with 19mm all glass, low distortion lens. Better sharpness with almost no glare.

My bad, when you said everyone, and then named me on your post, I assumed it was directed at me. You know what they say: to assume is to make an ass of u and me.

Thom Hogan has been saying two entry level mirrorless APS-C bodies in the US $500-$1000 bracket to be announced in the next few months followed by a full frame around US $2,000 four or five months later.D5600 is already due for update perhaps it is the last of the D5000 series ??

Thanks Don! It's an exciting time for Chris and I!

Just got back from a shoot and used the A7iii. Let me know if you have any questions!

I think they both have a GH5. One does marriages and some ads, one does non film stuff mostly and both are dabbling in drone videos for businesses.

Here are a few seconds (30MB MOV file) shot on the EOSM with the more recent ALL-I hack enabled and with bitrate boosted 1.5x: MVI_5681-short.mov The frames are definitely all I-frames. However, as you can see, moire was problematic with the back wall and with the lens that I was using -- the Pixco Mini 25mm F1.8 APS-C lens ($25 when I bought it last year). Sorry for the shaking, but the Pixco has no stabilization. I am going to start trying to boost the bitrate, but I also want to try recent, stock ML builds and just boosting bitrate to 2.5 to see if that makes any difference. I especially want to try 60 fps.

Hiding away my boom just below the ceiling for the wiiiiiiide shot.

Great work, nice images! This was done under Jäger Music right? I noticed the Jäger logo in the beginning. Could you share what kind of budget that Jäger Music was providing if involved. But I understand if you can’t share that information. Shot on what glass? My experience to fight against this a lot talked about ”digital look” is done by choice of lenses to use. Quite obvious. But that, lighting and art design makes a big difference. My recent musicvideo shot with GH5 with Kowa anamorphic:

I haven't carefully read every post in this thread, but everyone keeps incorrectly referring to the document in the first post as a "patent", when it is in fact only a published patent application. Patent applications aren't officially issued patents, and normally haven't even been reviewed by an examiner when they are published.

Cheers sir. I don't like everything about the aesthetic, however it's very liberating to be able to make great images with this camera. Plus the GH5 is good enough for the big guns. Arguing over which camera is best these days isn't even worth the debate.

I hear about the second coming for decades.....guess what?......never going to happen. And the masses still buying Canons like hot cakes......

Well there is no doubt it is pretty awesome for what little money you have to spend to get into the system. And I am sure X amount of people on here has had a body laying around for years. Plus a cheap way to be able to get into ML Raw and learn how to use and edit it. Sounds like a Win, Win to me. Cheap thrills.

Canon are so incredibly stupid, they could have did this 5 years ago and everyone who had invested in their lenses would have bought into this for eternity! At Canon they have one policy, ie "What's the least we have to do?", because that's what they keep dishing up!! I'm over Canon, they're completely useless and unnecessary now!

What is going on in Canon's head in the past 5 years. These guys are just getting stranger and stranger as the months and years go by. With all the Sony, BlackMagic and Panasonic offerings this year.....why in the Hell would anybody want this thing? What does it bring to the table that is not already better than this thing? Who's super16 sensor is Canon going to use? Will it be a small Canon front side illuminated sensor that is based on 10year old architecture? Canon can get away with lousy large sensor production but there is no way they can challange Sony on small sensor efficiency. Not even close. What off the wall "cripples" will Canon employ on this thing....lemme guess, MJPEG? Ony CFast recording? Even more crop on the sensor? No clean HDMI out? Woah....weird and a sign that Canon is losing their marketing witts.

Incredible how the nx1 is still the best at least up to 1600 and among the best after that.

Incredible how much sharper the nx1 is... without being oversharpened.

Nx1: still much more details, faster and more consistent af and better colors. Gh5: much better is, 60fps more at 2k, slightly less rs. For video gh5 is probably the best choice right now, if someone is starting a system from scratch. Nx1 is a much better camera for stills and very good for video nevertheless. On a side note, a big thumbs up for this guy, who is still considering nx1, while most other previous "supporters" simply forgot about it.