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I rented a Master Anamorphic 50mm for another project on the Helium, but walked over to Chinatown in Chicago with a couple of friends to shoot this little short with the GH5s. All at 3200 ISO.

I read that as "the best mirrorless camera is in your hand" and then got very excited, but was disappointed when I discovered it wasn't a fantastic camera in disguise, but was just as it appeared - a donut. All else being equal, those controls are spectacular. I've bitched about mentioned it before, but being able to see exactly what your settings are and to specify any combination of them is just fantastic. The fact that I can't set aperture, shutter speed and auto-ISO on my XC10 is basically against the Geneva Convention.

I'm gonna get boo'ed for this, but it's the NX1.

Blackmagic were at the Media Production Show in London today. They didnt have any Pocket 4k's on display but they told me they are still expecting a September release.

Here are my first screengrabs shooting on event with gx80+ vintage minolta set up. Lenses I used were 24mm 2.8 Tokina RMC and the 50mm 1.4 Minolta with lens turbo. Happy to say that they blended in quite well with each other, only for some shots I still remember which was which. The picture of the glasses was shot with the minolta, the other two were shot with the tokina which I got for 24 bucks ?

Drag and drop film sound design EOSHD Pro Audio is a preset library for Adobe Premiere and Final Cut Pro X, allowing complete control over camera audio in post. Developed with a professional studio engineer in Berlin, the concept of EOSHD Pro Audio is unique. It is designed to fix common audio issues with internal stereo mics on DSLR and mirrorless cameras in an innovative way, as well as offering cinematic moods for specific scenes and shots – like LUTs for audio. Check it out - https://www.eoshd.com/pro-audio/

I seems to me that's an super easy way to balance DR, let it clip where you want it, and then fill the shadows with subtle light if the contrast is too high to avoid noise.

thank you thank u!!! theres already been shenanigans... broken air conditioner, legit had to reschedule... actress just took another (much better) job... ::sigh::: mercer, i dont know how to do anything, but those screen grabs actually absolutely represent some very dicey exposing those shots were at iso 6400, normally exposed, and then i pulled them way down in post... seemed to take care of the noise nicely (???) literally no idea what im doing tho lol. wouldnt have shot that high but..... it happened edit: and im totally exposing by eye, based on my tests. im...... a moron

This is where suspension of disbelief comes into play. Due to the stylized nature of the short, I buy it, but for a second, I did think how did she get into the back seat of the car so fast. Either way great directorial hand and ideas in such a small, simple piece!!!

i am finally shooting my little ml raw film omg wish me luck guyzzz

Tripod mostly. I used handheld on a sandbag out of a car window for the following shot. Thanks man. Actually I wasn't implying a transition of time. I wanted to make it hyper-dubious. She just shows up out of nowhere with no warning!

The best mirrorless camera is the one in your hand.

I think your question is which mirrorless camera is best for silent shooting...?? The answer undoubtedly is the Sony A9. For silent shooting you need to use a fully electronic shutter and the Sony A9 is the only camera out there with a 'stacked CMOS sensor' that enables an incredibly fast sensor readout of 1/160th of a second for stills. By contrast the A7iii/riii readout is 1/30th (I think) and the Fuji XT is 1/15th (I think). A slow or slowish sensor readout causes 2 problems. First if there is reasonable movement when the photo is shot, you will see distortions in the photo (similar to rolling shutter in video). Secondly you will tend to get a lot of 'banding' from artificial light sources such as fluorescents which can mostly be avoided with the Sony A9. To put things in perspective, I virtually never use the silent shutter on my A7riii (unless I am in a situation where I have absolutely no choice). The Sony A9 is a good video camera - full sensor readout 6k downrezzed to 4k, no crop, 1080 120p, decent afc, ibis - however it is missing Sony picture profiles. The other problem is that the Sony A9 with its tech doesnt come cheap. New around US$4000 but used around US$3000 or so. A plus is that you can use your Canon lenses with decent af and functionality (for stills) with an adapter.

Very cool idea. I like how you followed her smoke to introduce the other character. My only critique would be to slow the pan up to sell the transition of time.

SUCCESS! Just to finish this thread, I replaced the eBay purchased Metabones XL with a new one. The new one had much tighter tolerances and even a weather sealed gasket on the back. I had to adjust the infinity focus a small amount but now my XL and Tokina 28-70mm work great together!

Little add to Voigt 17.5 case...

http://www.canonrumors.com/video-capabilities-will-be-at-the-heart-of-all-future-canon-prosumer-camera-bodies-cr2/ Soooo........ "perceived" feature set? Does that mean we'll finally get proper full HD out of a Canon stills camera? Only for them to then dress it up (or rather up scale it) and call it "4K"! ha ?

They are a good way to get Sony cameras to look like a Canon face colors wise. ?

That sounds like a lot of work for something that can be avoided by buying different lenses... or maybe i'm just too lazy!

Nice job. I thought the best shot was the tracking shot (from car?) at 0:14. The music choice really fits too.

@jonpais Samuel at mystery box has confirmed the Sumo 19M works great through SDI with the black magic ultra studio mini monitor So this is the way forward for me

It comes down to what you perceive as acceptable/ beneficial. There is no universal arbiter of this stuff - just opinions. With that in mind, a number of the more accomplished shooters here abouts regularly have VNDs on their lenses. VNDs are professional in the sense that professionals shoot with them all the time. In the most important sense of getting a great shot versus not getting it - they're invaluable for a number of situations. Example: I'm producing a commericial next weekend at a dairy for a new product launch. Because it will be very sunny, buggy, live critters and real time action for much of the B-roll. In this scenario changing lenses becomes problematic so I'll have two cameras with zooms. Having VNDs on them means I know that both FL and ideal exposure can be dialed in on the fly. In a situation like this it's hard to calculate how many more solid shots that will come from it - but a lot more than primes and fixed NDs. When we go back the next day for the setups w/ actors I'll use fixed ProNDs on the cameras because of the control. That said, shot well, there isn't anyone who'll view the work, broadcast or web, that will see the difference between the two.

If their FHD is like C100 quality then it will be a big selling point Sony’s FHD is pretty soft their in mirrorless except a7s/2 or the old a6000/5100

Don't be afraid of adapters as even the non manufacturer ones like Metabones and Kipon can be almost native in use and they are a long way from simple dumb adapters these days. Even decades ago, there were adapters that allow auto focus with manual focus lenses from several makers for several mounts but the latest ones are excellent. As for silent shooting, that just gets better with each generation with the first gen cameras ( I had a GX7 and still have an A7s) it is very useful but with some limits. The lastest Sony cameras it is better (as said A9 in a different league). My guess would be Canon will need an adapter for EF lenses on its mirrorless but there will be little problem with that.

The Cine gammas also tend to need a bit of correction work in post as well. Check out Andrew’s latest EOSHD color if you haven’t already, was hugely impressed with what he got from the A7III straight out of camera. SLOG2 with Geoff’s GFILM is also one I’d highly recommend trying out for great colour and a decent amount of DR.

Yeah, unfortunately due to family health issues I was forced to sell my 24-70mm f/4. I’ve been using the 28mm 1.8 and 50mm 1.4 in its place and I am pretty amazed with the results but needless to say, I am saving up to buy another 24-70mm. I can go handheld with the 28mm pretty steadily but I really miss the IS from the 24-70mm and 35mm f/2. I may just end up getting the 35mm f/2 and hold off on the zoom... idk. However, this recent financial issue made me realize I really don’t need as many lenses as I used to think I needed. Basically a modern Canon zoom and a prime and then a small set of vintage lenses and I should be golden. I took a look at these on my computer and I enlarged them and they still look pretty clean... I don't even notice any JPEG schmegma... Do you think dropping the shadows and the desaturation eliminated the noise that well? In my shots, I would totally have a bunch of chroma noise in that shot... hmm... I'll have to do some tests because maybe the chroma noise is a byproduct of ETTR? Interesting... I will say that the top shot may need to be brightened a touch... he is really lost in the darkness... or is it just my screen?

you guessed it im using a 24-105 IS L for the entire short~! tempted to have less light and wider apertures, but "movies are shot at f/4" and all

Yup, I often refer to it as a point and shoot cinema camera and if you have a Canon IS lens, it’s even easier for certain projects... or mindsets. BTW, what lens did you use for those shots?

? it so is 80% of the time you just point it at stuff and everything looks amazing

I wish I could just use Canon’s in camera meter and not have to worry about any of the ML aids. I will say the ML Histobar is pretty cool because I shoot in 2:35 and it is placed in the bottom letterbox of the screen, so it doesn’t affect any composition... but it messes up the audio meters... Oh, okay... a-doy... I get it now. Btw, I would buy that guide because I aim for lazy but usually end up with unprepared and just bad... I am kinda making it work though. But one of the best things about the 5D3 and ML Raw... you pretty much have to be color blind (or use a MacBook Air like I do) to mess it up... it really is the Dummies Camera for Cinematic Images...

absolutely. im basically talking about light sources, speculars. or creatively you might want to do something different, but i mean "whites", if you will edit: and i can just kind of judge how much i can recover the highlights based on where they clip onscreen edit 2: im gonna write a guide called The Laziest Way to Shoot Raw

Almost every actor I have thought I had for my film hasn’t panned out... it’s just the nature of zero budget filmmaking. But the ones I have gotten believe in the project and will do anything to help. I’m looking at them on my phone and they look good, I’ll go on the computer in a little bit and take a closer look. Well, it’s good to know you can go up to 6400, I try to stay at 1600 or less but I have stole a shot at 3200. I spent years in post staring at waveforms and vectorscopes but when I stopped relying solely on them and trusting my eyeballs, I started noticing an improvement. I still use scopes as a reference... you have to, but in the end if it looks good to the eye... Some of my favorite ML Raw videos have been exposed to the middle... or properly exposed. And then there are great ones that are ETTRd... I have been shooting high contrast scenes in available and practical lighting, so I have been getting a ton of shadow noise if I don’t ETTR. But I also notice a slight color shift by pushing it too far to the edge, so I usually drop it back a notch on the Raw Histogram and it seems to be working fairly okay. But I don’t really know what I’m doing... I just know I have better images now than I did with any other camera before... so whatevs...

@kaylee looks cool, very cinematic! Good luck!!! BTW, how do you expose ML Raw! Do you ETTR using the Raw Histogram and ETTR Hint?

Well it has a realistic chance of being available within the next two years so I'm not sure that gels with the current ethos of Kickstarter video and photography products Yes I will be. The Sony version works now. I just need to bury the functions inside six layers of menus though to make Sony user's feel at home

I believe the people in "these forums" are exactly the ones that will find them helpful. At least these are in the right direction and people with no sound experience at all, can improve their sound. I am a professional soundman for 19 years, and I know that my experience, education and expertise can't be simulated on a few presets, but there is a huge percentage of video makers outhere -amateurs, one man bands, photogrpahers turn to video, cameramen not willing to hire a sound man, ultra low budget productions - that could be benefited for those presets. There is an increasing attitude in this and other forums, that even camera's internal mics are sufficient for sound, at least now they have a few presets to back up their claims! For the price, I see a lot of people invested on them.

Are you going to hire, or buy? For the cost of an A9 body you could have a Fuji X body with a lens or three. If you're hiring, the A9 is a pretty easy choice, I know a guy who shoots on TV sets and loves everything about his A9. On the other hand this guy shoots Fuji on set: https://www.fujirumors.com/behind-the-x-gear-meet-barry-wetcher-the-x-shooter-who-brings-fujifilm-to-hollywood/ For the record I shoot Fuji, but I don't do on set stills work. I pair my X-Pro2 with an X100F and it's great. The X100F is basically silent by default, the leaf shutter is barely audible, which is perfect when I'm shooting weddings and speeches and the like.

Thanks Jon All in all am happy then as I can re-use my 2011 iMac with FCPX It won’t run DaVinci 15 but it will run DaVinci 14 as I have only 1GB vram Do you know if Da Vinci 14 is capable of the same or am I limited to FCPX?

Check out Noam Kroll’s work with the Fuji X-T2 on his website.

I’ve heard a rumor that a lot of Hollywood cinematographers own Fuji mirrorless cameras for stills and casual videos... if this rumor is true... there’s probably a good reason.

I'm Jewish, does that count? And my grandparents met while living in Scotland! So maybe. Anyway, monitors last for years but also tech advances pretty quick. Would suck to buy a SmallHD 502 only for a Samauri V to be announced the next day. Additionally, why spend money I don't have to? When I can put it instead towards something more important: sound gear. Finally, if I'm working on the camera side of things I'd often be working on very low budget shoots so I'd rather not bring expensive gear to the set anyway! Having cheap gear is nice sometimes, I could for instance do a long term loan of my Feelworld FW759 to a DoP for a feature film and not have any worries over it because it is so cheap anyway if the worst was to happen. (It didn't, I got it returned just the other week at the wrap party)

You are right the Sony line up is pretty confusing. They have a sort of 'legacy' 'A' mount (both FF and APSC) which is effectively a cross between DSLR and mirrorless and an 'E' mount both FF and APSC which is fully mirrorless. 'A' mount lenses can be used on 'E' mount with an 'adapter' but 'A' mount lenses do not adapt particularly well to 'E' mount. So if you are looking at using Sigma lenses on an 'E' mount camera you are better off adapting Sigma 'Canon' lenses with the MC11 adapter. To make matters even more confusing, Sigma recently announced a set of 'art' lenses for the 'E' mount (all primes). These dont need an adapter. They are new (so we dont know much). I think there is a suspicion that as they havent been designed specifically for 'mirrorless' (apart from the mount) the autofocus might not match existing Sony (full frame) 'E' mount lenses (on the basis they dont have step motors like the recently announced Tamron 28-75 2.8.)

Actually having prebooked it, I'd like to have some lenses ready in hand when the camera arrives. Since a lot of the older lenses are quite cheap, I don't think it's much of a risk investing in them. This discussion was already going on in the Blackmagic Pocket Cinema Camera 4K thread. This is just an attempt to streamline it to the specific topic without having to read through over a hundred pages of discussion about everything Pocket 4k. ? Are these corrections done in-camera, or are they part of the lens profile that the editing softwares recognize (what Photoshop does in Adobe Raw)? Any experience with the Leica R's or Contax Zeiss? I haven't used either.

I'd suggest that as this isn't a critical application you consider an all-in-one like the Sony RX100 series. Not because it's well suited (although it may be), but because once you've rejected it you'll know exactly what your needs and wants are (and which is which). Starting with simplicity and work your way up based on real requirements will ensure you don't overcomplicate it

Is the dark side Sony or Sigma?? Thanks @jonpais for mentioning the Sigma lenses, I hadn't spotted them yet in my Sony research. The 24-105 F4 and 70-200 F2.8 are quite a bit cheaper than the Sony offerings!!

You've succumbed to the dark side...

Looks like the magic lantern developers are getting close to 3k raw video recording on the 100D and 700D. I'll hopefully be able to start investigating the EOS M too as that's a similar camera. One issue at the moment is that 10 and 12 bit lossless are unsupported at this resolution, so record times are very short, and it's all extremely experimental at the moment. Here's the link to the 100D thread re: this topic: https://www.magiclantern.fm/forum/index.php?topic=16040.msg202627#msg202627

Have either of you used it?

Aerials were actually stock footage. Not exactly sure which camera was used.

You sure your not Scottish? A really good monitor lasts for Years, and Years. At your age, come on LoL. At my age, I don't even buy Green Bananas!

http://menexmachina.blogspot.com/2018/07/lightroom-skin-tones.html