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I have nothing to do with this film other than i think it's amazing! They've been, like they always are, very open with everything through out the whole process. Including gear which is why i thought it would fit here on EOSHD. Premiered on Swedish cinemas four days ago. Total budget: $2M, shot on FS7 and vintage Russian lenses. More info below. Director Victor Danell on Facebook: "Last year I directed my first feature. Me and the DP wanted a lifeful and ”not so perfect” look to keep the story grounded, so we decided to shoot on vintage lenses. I relubed and added a oval iris on every lens my self. Shot on a Sony FS7 This is the complete set of lenses we used. A total price of less then $800. 20mm - Mir 20a 28mm - Mir 10a 30mm - Meyer-Optik Görlitz Lyidth 37mm - Mir 1a 38mm - Helios 44-2 + DSO wide angle adapter 50mm - Carl Zeiss Jena Pancolar 58mm - Helios 44-2 85mm - Jupiter 9 135mm - Tair 11a THE UNTHINKABLE / DEN BLOMSTERTID NU KOMMER http://www.imdb.com/title/tt5227746/?ref_=nv_sr_1"

Wow. Thanks for those kind words. I’m the director/writer/VFX-supervisor & a member of Crazy Pictures which means that I’m kind of involvd in most things regarding this project. We worked qite hard to achive a high production value with the small budget we had, so it feel GREAT to hear that you enjoyed the result. (extra fun to hear about your girlfriends reaction!) If there’s anything you wonder about the production, the process or some technical details, feel free to ask.

If you want full Sony experience native lens is the way to go! 3rd party & adapter lens sometimes can drive you mad with those little glitches/imperfection.

Hunches are fine when declared as so. The problem is when people state their hunches as fact.. If we deleted all the posts that were speculation, opinion, rampant imagination, and fighting over Canon 1080p and colour science, etc there would only be a small amount of content remaining here!!

Did the 4K pocket make the competition so desperate? Two suggestions for @Andrew Reid: - Unify all the RAW capable cameras into one sub-forum. Between BM making a splash, Kinefinity, ProRes RAW & RAW output capable cameras, there are a lot to cover. - Turn the lenses pined thread into a sub-forum. Threads can be lens specific and easier to browse through.

http://www.koreanfilm.or.kr/eng/news/kofic_news.jsp?mode=VIEW&seq=1763&blbdComCd=601007 "50% lower" is a broad statement, 50% lower than who exactly? If it is 50% lower than the current cheapest anamorphic lenses then this is exciting, but if it is 50% off $50K well maybe not so much.....

This is probably a bit low brow on populist for most of you but anyway.... So I went to see Jurassic World in 4DX the other night. Not a great film but definitely a great experience. I don't really know what I was expecting, maybe just a bit of motion rumbling in the seat and a few gimmicks of the odd tiny blast of air and a bit of water but it was way beyond that. Of course, its not going to work with every film type but with something like Jurassic World you've already left any pretence of high brow at the door anyway so if you're going to go for it then you might as well really go for it. The range of movement in the chair was way beyond what I was expecting both in distance and velocity which made every crash or shock point really shake you but I was also surprised at the subtlety that really put you inside the aerial shots and also when the camera was tilting up to reveal something. The air jets coming from the front were obviously good for weather stuff but the ones in the head rest were very effective for bullet fly bys but the big surprise where the ones behind your calfs which they used to simulate little creatures running around your ankles. And honestly, the rain effects with the water spray were fantastic ! As an old cynic, I shouldn't really be getting excited by this stuff but I had an absolute whale of a time as did everyone else in there. Its a long time since I've left the cinema and people have seemed as euphoric as that. And that is with what is a decidedly iffy film as well. Also, as I've said before on here, we really all did give up on 3D too soon. I would love for Spielberg to do a version of Saving Private Ryan for 4DX as it would lend itself very well to the inclusive immersion aspects. Flame away

A quote from the review of Terra 4K: https://nofilmschool.com/2018/04/review-kinefinity-terra-4k-offers-bang-buck

Looks like it is just like the mk II, better in crop mode. It would be awful hard to sample all that data quick enough even with Sony's expertise without overheating in such a small body. Most of the high end Cine Camera that have even a s35 sensor have a heat sink in them as big as your hand. And maybe Sony doesn't have a processor yet than can even sample it fast enough? That would appear to be a big problem on the Canon side. https://***URL removed***/reviews/image-comparison/fullscreen?attr29_0=sony_a7riii&attr29_1=sony_a7riii&attr72_0=4k-apsc&attr72_1=4k&normalization=full&widget=572&x=-0.11115383747886572&y=0.28980583000000004 And what they said about it. It is not a huge difference, but it IS better in crop mode. https://***URL removed***/reviews/sony-a7r-mark-iii-review/9 Seems to be the consensus on this thread also. https://***URL removed***/forums/thread/4268646

It was about €950 when I last looked, so a bit cheaper than Thomman in Germany who are usually my reference point.

I haven't checked the Swiss prices, maybe is more convinient, and the mountains are lovely this time of year!

Versus the real currency conversion of the BH price of it which is €770 Literally cheaper to get a flight to NY and buy one. Or two. I'll have the other one off you !

Too much unnecessary movement. Too much, and too many Amstel beers, that is not a good lager! Also some random shots in there, and it seems like you shot the whole wedding on a boat. It certainly has a style, and you can earn a lot of money when you improve it but the most important thing, is to watch it again, and truly see what works, and what not. I shot recently a wedding, we were 2 persons, using only 35 and 85mm lenses (Sony full frame cameras). Even using the crop mode, I found the whole procedure too slow and too limiting. I love going 24mm when wide (even wider for my establishing shots) and near 80mm for my portraits, (so, a 16-50 APS-C is ideal).

I've always hated the term 'fast' when it comes down to sensitive lenses. Yes, f/1.2 theoretically would allow you to capture a frame properly exposed with a shorter exposure than with f/4. But especially for video people... you don't want to have your frames exposed shorter or longer. It's not the speed you want, it's just the bloody sensitivity and perhaps associated depth of field. So why not call 'em 'bright' or 'sensitive' rather then 'fast' already? ? Mini-ranting aside, I do love me some f/0.95 action. I guess the Voigtländer 17mm hits a nice sweetspot on MFT, though I also love the lushious 25mm SLR Magic HyperPrime CINE. I have a weakness for bokehliciousness, so I'm rather into 35~50mm equiv than wider as well. Luckily the government still hasn't intervened and limit the no. of lenses we're allowed to have (and otherwise I'd expect a very large underground illegal scene), because I do love that Olympus PRO 7-14mm f/2.8 for landscapes or that Lumix 100-300mm for wildlife. All manual, all auto, modern or vintage, to zoom or not to zoom, bright or not so sensitive, stabilized or relying on IBIS... it's good to have the options. And that's how you end up like me and have like probably over 100 of 'em. It's like Pokémon. You can settle for Pikachu or be of the mindset 'Gotta catch 'em all!'. ?

If this is how bad Panasonic is when they "fail" what will happen when they succeed? :-o

Don't use a full frame camera, then your lenses will be lighter and compact. If it is size that is the limitation, rather than the number of lenses, then why not bring say two primes instead of one zoom? As the size/weight might be the same. Or four pancake lenses instead of two primes! Although you'd struggle to find four worthwhile pancake lenses all for the same mount system? I suppose there is the Pentax 21 / 40 / 70mm lenses which would be a nice combo, if only you could say get next a 16mm pancake that would be a complete set! Although personally I'd just prefer to have a lens like the Samsung 16-50mm f2-2.8 if I had to have only one lens.

They could never have done that. Would you have rather they never released the BMPCC4K? Of course not, that is a silly proposal! We can be very happy with what the BMPCC4K is rather than attacking it.

Quite some hope actually. You know, the FS5 is not in the same market as the A7. It has millions things (pro camera features) that the A7 does not have and it has very advanced external recording capabilities. Therefore it is totally possible that Sony will release a A7S with 4K60P even if FS5 does not have it because it has many other things that the former does not have. It would not be the first time something like this happens. And look at the A9. 4500$ and a few months after you get a A7III which has better IQ (dynamic range) and 95% of A9 functions for 2500$ less. What was the hope of that? Well the A9 has 1-2 pro features (burst shooting..) on top of A7III. So here you go my friend. Quite some hope.

Ahh... I remember John Waters' Polyester with Smellorama.

Buy them from Fivrr instead, they're cheaper, you'll save enough money to use Adobe instead.

I think that they tapped into the signal coming out of the A-to-D converter. Doing so is a little tricky as one must: find the part of the circuit to tap; bring that raw digital signal up to line level/voltage for a recorder; work with extremely miniaturized components. Over the last year, I have considered trying such a hardware hack with my EOSM, but the skills required for steps #1 and #3 are beyond me. Here are two videos showing the EOSM innards: Don't know if it would be feasible to start a business making such hardware mods on EOSMs, as I can only guess at the demand/quantities involved. However, such a hardware hack could work just as easily on the EOSM-5, EOSM-6 and EOSM-50 as it would on the original EOSM, which could transform these more recent models into raw, mirrorless monsters.

I'm going to go out on a limb and say it'll be worse than Canon but better than RED or Arri

Me, my crew and my gear in extreme conditions (-24 celsius). I don’t have better images from my setup but I could take one someday at the studio. GH5 with modified FM Lens (Kowa 8z inside) minolta pancake 45 2.8 taking lens, smallhd focus monitor, some different branded rig parts. I am quite satisfied with this setup. GH5 and image stabilization with anamorphic lenses is just great! Really like that I can do even rough handheld work with my anamorphic setup with a great results! Photos by my talented gaffer Eetu Keränen.

Oh no. It is a DJI. And the breakout boxes are from Wooden Camera and Tilta. And the wireless video is from IDX. A little stick powered by the usb port of the SHD502 Bright.

I'm praying for 4k60 on the A7SIII just like everyone else but I'm not holding my breath. If they didn't even do it with the much larger body FS5-II what hope do we have of getting it on the A7SIII? Maybe we'll get a bump in the bitrate or something. Or maybe they'll make the jump to h265 finally and we'll get better quality with the same bitrate. And they can finally claim they bested the 4 year old Samsung NX-1.

Just a quick update on my experience with the sigma mc-11. Some of the lenses I only had a few minutes to try Yongnuo 35mm f2: Doesn't autofocus at all. That 35mm f2 look is awesome though. Canon 50mm f1.8 stm: AF-S works well. Didn't have enough time to compare it against the Sony 50mm f1.8 Fe. The size of the adapter and lens is just slightly bigger than the Sony lens. Sigma 17-35mm f2.8-4: I've been using the Nikon mount version of this lens for a couple years on Nikon, panasonic, canon and now Sony cameras. One of my faves. The canon mount version on the sigma mc-11 does seem to attempt to autofocus but there's a big problem - the aperture stays locked at the smallest opening. Not sure if it was a fault of the particular lens. Canon 24-85mm f3.5-4.5: af-s and c works well in stills. Continuous doesn't work in video. The focus ring is not smooth and has some play, making manual focus quite difficult. Other than that, it's a great lens with plenty of character (flaring, slight distortion, slight chromatic aberration). I'm not sure if I'm keeping it yet because of the manual focus problems. It would be perfect otherwise.

WOW...so B&H/Luxli have quietly released their 1X1 RGBW light (Luxli Timpani) . It's available on July 2nd. At $1000 seems like a reasonable price for a 1x1 RGBW panel with such a hight CRI color. The question for most people is, should you buy multiple Luxli cellos or 1 Timpani. Cello retails for $400. But It goes one sale some times at $300 or $350. 4 cellos at sale is about $1200 which a few more LED than a Timpani but basically close enough. So 4 Cellos will give you more flexility, the Timpani might be easier to deal with, just having one light to worry about. Either defuse it, or bounce, etc. I guess Ideal case you have one Timpani couple of Cellos and one COB light source. https://www.bhphotovideo.com/c/product/1353086-REG/luxli_timpani_1x1_1x1_rgb_studio_light.html

@Alpicat, yeah, it was a hardware hack, making it possible to record to a computer, such as a mac mini. If one looks for DVX100 Andromeda, it tells the whole story about a few happy campers having purchased the enhancement and filming with a 720p+ resolution 3CCD raw camera with global shutter, massive color, nice resolution image, in the beloved form factor of the legendary DVX100! It would be the perfect Digital Bolex substitute. Love this thread! Super fun read, with beautiful footage!

or put another way - would you buy a C200 instead of the BMPCC 4k if it was 1/2 the price.........

Nah. It's in the name: it's a cinema camera. Get a RED, get an ARRI and you won't be getting IBIS & silky smooth C-AF either. I liked the GH2/BMPCC days. There was a systematic approach behind the madness. You used to take pride in honing your skills. You were forced to think about what you were doing. Now everyone's striving to have a camera handle like a smartphone, pressing a button and getting spoonfed medium format results or something. If you aren't going to use a cinema camera for cinema style shooting... get something else. 'The right tool for the job' might just be a Canon if what your scenarios need is their DPAF. No shame in that.

They sound like a colourful bunch.

Some stills: Schneider ES Cinelux 2x (Custom Single focus) Chinon 50mm F:1.7 wideopen Sony a6300

Yes, that's correct: you dont know. Crisp +7 actually softens your image, it's like using the "Masking" slider in lightroom while you use the sharpening tool. Set it to 0 for maximum sharpness. Fullframe or crop, it does not matter.

I just got a call from Black Magic Executive Vice President, he is taking over the company after the CEO killed himself, a few minutes after reading my poll on EOSH. Joke aside, well done BM for missing the mark like Panasonic did with the GH5. Offering all features needed but a very important one...