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Thanks for the notes. A great deal of The Resident is shot handheld with an Ursa Mini Pro and APO Hyperprimes from SLR Magic. We rig it in what I call “football” mode. Body, wooden camera cheese plates, Dbox, MDR, battery, lens and side handle. I try to keep it as small as possible. Attcahed are a couple of shots I was operating on a pilot in Chicago a few months ago. A lot is also shot with a minimally rigged micro camera, WC cage, self pulling with a 10mm SLR Magic lens and a 5” VA for monitoriing on an arm. Idea being to keep it all very small. There’s a picture here showing the way I work that rig here mid-take. It allows me to get the camera inside the surgical feild and very intimate. We work really hard on making the medical stuff as real as possible. It’s a real prop in that case. Most of the extras in surgery scenes are realy life OR nurses and surgeons. We have surgeons as consultants and we make a lot of prosthetics to be story specific. We have to take some liberties though, usually for time. I mean it’s a 47 min TV show I recall with the scene you’re talking about that graft would normally take about an hour to install and sew. Mina gets it done in a few seocnds ?. The whole procedure would take a few hours. So we try to get the spirit right and we try to be very explicit and accurate with the medical depictions. We still get. alot of medical people flaming the show for not being “right” but usually they’re more upset with the way we depict the shortcomings and failings of the US medical system ? We shoot, edit and master in 1920. Fox does the downconvert. You can get 1920 versions from other stremaing services though. JB

That's exactly what happened. Here's an early post by Jarrend Land who had founded DVXUSER (now also REDUSER and BMCUSER) and who is now running the show at RED. http://www.dvxuser.com/V6/showthread.php?40929-RED-CAMERA-Prelim-Specs&p=372657&viewfull=1#post372657 It says "target" specs. You don't put a target sensor resolution is you've been designing a sensor for years. He did not found the company in 1999. RED's own website history gives the timeline. You're quoting Wikipedia. I'm quoting RED. Their first prototype camera was made in 2006. He shipped the RED ONE 2 years later. That's about the normal development time if you're starting from scratch. He bought a lot of his technology and IP in through other existing companies or consultants to shorcut the development time. Companies like Cineform are rumoured to be what Redcode is. He bought the tessive guys, turned that into motion mount. He bought Accuscene and they became the first EVF. Trying to remember but he also bought a matte-box company too. I was there too when the first announcement came and there was a lot of naysayers on CML. I seem to remember a bet and someone eating a cake in the shape of a hat. JB

- 1.33x Anamorphic Squeeze - green flare meh

Escorts have been paid to have dinner with old, rich creeps for decades if not centuries. It's nothing new.

hahaha! Anyway, fun fact: I believe even Kinefinity's earliest cameras used the KineMount For this have to applaud Sony for getting it right and making in making their new VENICE with an E mount built in! :-o (even though a small part of me is sad as this signals the end has come for FZ Mount :-/ ) I guess "technically" you're wrong. But a sub mount like KineMount or FZ mount actually is a better/faster design to use in the field. Nope, native Sony lenses won't work: http://www.kinefinity.com/shop/k2e/?lang=en Rather it is designed for use with the massive wide range of adapters for E mount and the many tasty manual lenses for E mount, such as Veydra primes or Fujifilm zooms: Awesomely it is a locking E mount like on the FS7mk2 and VENICE! Imagine how great it would be if only more manufacturers did this, how would you like to use an URSA Mini Pro or Panasonic EVA1 with Fujifilm MK18-55, MK50-135 zooms or Veydra primes? You get a sense of how truly tiny the Terra body is when you see it next to the already small Fujinon zoom, the lens looks pretty big in comparison!

I first heard about this from my teen/pre-teen kids (like most new things online TBH). When I asked about it, apart from them eagerly showing me some videos, they mentioned that they didn't get the sensation, but they sometimes listened while falling asleep. There is an entire genre of cam girls (in Japan IIRC) that will have dinner with you. There are lots of lonely people in the world, and they are more likely to die than people who aren't lonely. I'm not saying that people who make these videos are saints or anything, but it's probably doing more good than harm, and doing it in a way that society isn't dealing with yet.

The Leica 42.5 Nocticron f1.2... This lens has something that mere spec sheet numbers cannot speak to. This lens has magic. It is one of those few "special" lenses. It's built to true Leica standards. As well made as any of my other Leica lenses. And at a price that is a bargain. It is designed for the Panasonic GH cameras, so performance will be exactly as expected. I consider this lens to be one of my best (regardless of system), and on a short list of the finest M43 lenses available.

Got a chance to see some modern stuff projected tonight. Damn man, celluloid is amazing, too bad it looks like shit online. Seeing real grain dancing on a screen is amazing.

I used to use RED a bit as you can strip them down to almost nothing. There are better cameras though these days.

Yeah hopefully it will not get that cheap so it will turn into a gimmick as we have seen with gymbals, drones, sliders,... as the high price of anamorphics is probably also one of the reasons it looks this good, as you dont see it daily. The first time I saw a drone shot, I was like wow this is amazing, same for gymbals. But after a while I got pretty tired of it as everybody was using it and as a result a lot of videos look the same.

There's been a sort of 'revolution' of late that gets called 'business model innovation', which you may have heard of. It's a phrase that is trendy but lacks a commonly understood definition, however the best one that I have heard of is when you take a traditional business model and you turn something that used to be a cost into something that is a source of income. One example of it is Ryan Air. Traditionally, airlines have to pay to use the airports they fly to, but Ryan Air approached the second largest airport in any given city and negotiated a deal where the airport pays Ryan Air to fly there instead of the largest airport, turning the airport from a cost to a source of revenue. It works because Ryan Air bring passengers to the airport it wouldn't normally have. In the case of the cam-girls, they're not really doing business model innovation per-se, but they are taking something that was traditionally valued at zero (having dinner) and combining it with things that are valued (time with a cute girl). The basic idea of business model innovation that is frequently used is to take something that hasn't been valued previously (like your house while you're away) and creating a mechanism where it's sold to someone who thinks it's worth something, so maybe it is business model innovation. Anyway, some people have it and want money, some people have money and want it, and the internet is a free economy, so it works

No judgment from me, I just find it interesting that these kinds of things exist and are so big in many places in the world. Who would have thought you can make a living from eating dinner.

I only think that this is half right. Sony gives quite a lot of leeway in its video profiles to produce straight out of camera close to what you might want (hence Andrew Reid's Pro color etc..). What you can do is make 'global adjustments' to saturation, color, contrast etc but they effect the whole output. What you cannot really do with 8 bit video is make 'selective adjustments' in post whereby you brighten/add contrast/sharpen part of the image while perhaps doing the opposite to other parts of the image/video. That's why people are crying out for a thicker video codec from Sony. I use Lightroom. But that is because I like the Library/DAM and integration with photoshop (hence the missing baby.) If you dont use photoshop Capture One (comes free with your camera) is possibly a better choice as an all in one raw converter.

If you're using it like a traditional cinema camera then its appearance doesn't really matter (everything looks like a cyborg when it's rigged up lol), but if you're not using it that way then sometimes a cameras appearance can matter. I shoot home videos in places people are ok with you shooting home videos but not 'pro' videos, and if the camera looks 'pro' then you run the risk of getting hassled. Basically, other people make judgements about what your intentions are and where the footage might go from what type of shooter you are, which they judge from the equipment. If you're shooting in dangerous places then a pro looking camera might get you robbed, but a pocket one might not (people deliberately make their cameras look beat up or old when shooting in high-crime poverty-stricken areas for this purpose), if you're shooting an event and your equipment looks pro maybe people will be uncooperative with being filmed in the hope you will pay them, which they wouldn't do if it was an iPhone or P&S, if you're shooting your kid in the park and the camera looks pro the security guards and council workers who aren't cops but wish they were and act like it can assume you're shooting a commercial project with actors instead of shooting your family and hassle you for permits and make you leave. Even if you're shooting a low-budget piece in public the larger your rig the more people in the background are going to stare at the camera as they walk past, but wouldn't as much if you looked like a parent or a tourist. When I visited the Vatican they had high security and wouldn't let any tripods in, and didn't seem to care about my pocket-sized mirrorless camera, but if I had a VENICE or maybe even C200 I bet they would have hassled me for filming permits, and saying "I'm just a hobbyist" wouldn't get around that kind of situation. Of course, a Venice or C200 would be overkill for a hobbyist, but people see a 5D as a "pro camera" because for photography it is, so there's a risk of someone seeing your tiny little video camera and thinking it's a pro looking stills camera. If you're shooting for a professional purpose then having a professional looking camera isn't a problem, it's when it doesn't match your purpose that problems can come in. Lots of people shot hand-held travel films with the Pocket 1, so there is a segment of people that like IQ but want to use it incognito on unofficial shoots.

Digital is convenient, and good digital is good, but analog is nice, and good analog is just wonderful.

I went back to what I knew the best. A Sony HDW-F900R CineAlta ENG camera. A friend of mine made me a deal on a pair of them I could not resist from his rental stock. Same camera that Shot Star Wars 1. Every rental house in the world bought 10 of them figuring they could rent them till the cows come home, which, well they did. If it was good enough for George Lucas well it was good enough for Bob LoL. By then they were getting long in the tooth and they were cheap in a sense. I think I paid 11 grand for the pair if I remember with total kits thrown. lot of hours on them but they are built to last. He even threw in a Sony Studio monitor. Pretty much turn key. I had tripods and lighting. I had one beat up playback machine for the tapes no one wanted it, it was one of those 50 pound units TV studios used. God I hated that thing moving it. Think I paid like 800 bucks for it. I did my editing at the local TV station. Old friend of mine that worked there would pretend like it was station footage and I got it for free at times! They were still using the format. Hell they still were using Beta SP a bit. I was only doing local TV ads with it so it worked out fine at 24fps 1080p HD with the extra card in it. Slo Mo was interlaced on it but they was not something I did a lot. It made me some damn good money and looked Pro as hell, which it was. So I used them as A and B cameras at the same time often. That was my main problem was I really needed a matching pair of something for easy editing. Editing was not too hard as it was only 15, 30, 1 minute spots. So you didn't have much footage to edit, but you might have to do 20 takes LoL. Some people sucked ass on at hitting their spots and doing lines, really bad. Jesus LoL. Some of them you could not shut them up! It ain't a 5 minute Ad LoL. It was pretty easy with good repeat customers. Went quick. Fast good money. Setups, tear downs were the main pain in the ass about it though. That got old quick. But I had it down to a science. I never did it at home or in a studio. it was at their locality. It looks a lot more genuine like that. Really the Red probably would not have worked because of at the time only RED CF, no Red Mags at the start. So no long takes using that then, and I was not really sure what I was gong to use for a B cam. I sure could not afford two whole Red One kits that's for sure. So things worked out I guess. I sort of gave up the whole video thing a few years later. I bought out a Excavating company and put all my money in that. I grossed Millions and made thousands LoL. I had 2 million dollars worth of equipment at one time, and I had planned to pay it all off and sell it, and retire with hey, 2 Million bucks cash. Well a Heart Attack at 50 stopped that from happening. 18 hours a day, 7 days a week does that to you. So Plan B. Well plan D by that time. Oh Well such is life.

I agree that many camera manufacturers also just don't "get it". As we've seen with the URSA Mini being only in EF (or PL/B4), but no mirrorless mount option (like BMD was very smart to do so with the BMCC! I'd never buy a BMCC EF, not even for US$500). And again with Panasonic with the EVA1 in only EF mount, not even using their own MFT mount! wtf

David, beyond... Don meant a dozen years ago or suchlike, more than a decade, eleven years to be more precise ;- )

There are plenty of small budget shoots with an Arri or a RED Dragon etc who'd love to see more affordable anamorphics as well.

Why does what the Pocket 4k 'looks like' matter in the slightest? If the images are good and it's ergonomically well designed, I couldn't care less what it 'looks like'. I just don't get it, sorry.

This is with the Batis 85. It is a 'still' from a 14bit raw file so you can obviously process how you want unlike the 100mb/s 8 bit video where your ability to process is very limited. Here are a couple of straight out of camera jpegs (8 bit) to show how the Sony renders by default. This is the original jpeg of the earlier photo.... And this is another straight out of camera jpeg. So you can see that Sony renders its jpegs with a lot of contrast, saturation and a lot of sharpening which is different to Jon's video grab (and most video). I also think the Sony has a tendency towards slightly cartoonish colors. Theoretically you can match the video to stills with PP2 (still) from the video picture profiles. My guess is that most people wouldnt go down that route.

And that 4 star review is not for the Leica anyway, it's in the wrong place as it is for the Lumix F1.7 ?

You and JB are both crazy LoL. He is going to build a whole factory, hire everyone, and engineer, and build them, and ship them 1 3/4 years later, yeah, sure that is what happened. And I believe in the tooth fairy.

Yeah, because that's what happened. He started the actual conversation in 2005 - discussing the concept of the first camera. The timeline is what it is. Like Jim, I reserved the url 6 years ago for a new firm that's launching this summer. It's pretty common for enetrpreneurs to have an idea/goal/concept and come up with the name, "Red" in this case, and then reserve that name years before actually doing anything with it. That's all Jim did before 2005 - buy an $8 url.

I believe that is precisely the point that @Savannah_Miller (and others) were trying to make, to counter your suggestion that Red has had versatility in regards to mounts before others. No. Kinefinity has one more option with the native mounts (with focal-reducers for both a Nikon and EF, but no native Leica-M) than Red, and especially with any adapter/focal-reducer that can attach to a Sony E-mount (which also includes anything that can attach to M4/3, such as a tilt/swing PL mount!). Not sure if most shooters (nor even many camera manufacturers) understand the significant advantage of having such a shallow mount. I wouldn't say that Blackmagic consistently builds cameras that " match the sensor." BMD tried to get "cute" with the ID on their first few cameras to the detriment of functionality/usability. This malady is a common to manufacturers trying to make an impact when starting out in an industry. Unlike Kinefinity, BMD is definitely ignorant of the advantages of having shallow mount capabilities, and they don't seem to understand that a camera with a shallow mount does not preclude electronic capability in EF lenses. I have talked to them about shallow mounts at every NAB since the Ursa Mini first appeared. At that time, I even made a US$10,000 bet with one of their condescending show reps that an S35 sensor can be used with a M4/3 mount (the Ursa Mini appeared the same year as the JVC LS300). Unfortunately, it seems that the same camera manufacturer hubris that (according to BMD) pushed them in to making their own models is now thoroughly entrenched within Blackmagic Design. Like most other camera makers, they are more interested moving boxes than they are in creating versatile cameras. In regards to the aesthetic design of the 4K Pocket camera, BMD definitely was not trying to be "cute" at NAB -- that prototype is possibly the most butt-ugly camera that I have ever seen. I almost recoiled in horror when I first saw it. Too bad BMD doesn't offer M4/3 mount or Sony E mount or Canon M mount (or just a simple shallow mount plate) on their S35 cameras. As I recall, Red first appeared at the 2005-2006 NAB saying that they were coming out with a 4K camera. It was vaporware for a long time after that. The story that I heard about Red's beginning was that Jannard was having problems with some Sony camera from 2004-2005, which gave him the notion that he could make his own camera. Keep in mind that Dalsa started showing their 4k, raw cinema camera at NAB around 2003. After that, miniaturization and continually diminishing cost is just a natural progression -- not innovation. I am no huge fan of Kinefinity, but I think that they have a better idea than Red and BMD on how to make a camera with advantageous versatility. I would not say that Kinefinity is a "spinoff" of Red. The only thing that those two brands have in common is a boxy design of no particular novelty and the use of common lens mount plates (which are configured much more advantageously on the Kinefinity models).

Umm. Shipping for more like 10 years (just) and not much longer than that as a company. JB

I don't think you are alone with your feelings about the lens LoL. B&M reviewers of it seem to agree. 43 out of 44 give it 5 Stars! https://www.bhphotovideo.com/c/product/1023336-REG/panasonic_leica_dg_nocticron_42_5mm.html/xpcur/xCHF/IWB/mx?c3api=0980%2C110370500933&gclid=CjwKCAjw9-HZBRAwEiwAGw0QcVTzAvFWNAlVqRNE7vwh8nYc6sAVUoHMLvLEzmlpWK9g2lRDeBc9XRoCKC4QAvD_BwE

What the heck is ASMR?

This phenomenon is used by advertisers for a long time already. Ads of perfumes, cars and ice cream use these techniques. @SageOne thing I've noticed is that as if it were an auditory drug, the more videos you see, the harder it is to get the answer each time. There is a habituation and immunization, so I try to see only a few of them from time to time. Other people with insomnia problems use it to fall asleep .

Big fan here, since '14 (discovered through VR). Many just aren't wired for it; if you are, you're lucky (its very grounding, helps me to be productive) @TwoScoops Plenty of great male asmr people too (& there are a small [thankfully] number of both who try to exploit the genre with sexuality, and don't really get asmr themselves). Those interaction videos are the category of role-plays. I'm not a fan of the style myself, but its a technique that apparently works for many (they don't want to replace interaction). Cynicism doesn't come into the picture if you're wired for it. It is a natural human drive to try to explain a thing which does not make sense (to fill in the blank space) Like describing a sixth sense, the five sensers will suspect the sixth sensers of not being altogether there, or morally bankrupt in some way : )

Does nothing for me either. A cynic might say it's just another way for cute but not quite model worthy girls to get attention online from nerds. ? Some of the videos are interesting from the perspective that society is at such a low now that they're basically packaging and 'selling' regular human interactions. (Too lazy to find the link but an example of one I saw was a suit fitter.)

YES, i HAVE~! and its CRAZY ??? im so glad you brought this up @Grimor, i was gonna start a thread to ask the same question guys, type "ASMR" into youtube search and look at the views... its wild~! i personally get *nothing* out of this, but i think its great that girls can just make videos like this and get youtube rich now... why am i even doing narrative? i could just be sucking on a fake ear posted two weeks ago. lookit the views

It's not as technically precise as the others but I really loved the Voigt 42.5. Nice Leica-like bokeh and really flattering to faces.

At NAB I was checking out the Atlas Lens Co lenses... which cost $8k-$9k. While that’s pretty affordable when compared to other anamorphic primes, they are nonetheless priced beyond the reach of most would be filmmakers budgets. Whilst at the booth I ran into someone who was also considering picking up a set of the Atlas primes. We had a conversation during the coarse of which he advised holding off from buying the Atlas Lenses, as he had it on good authority that new players were entering the market and that 2018 is slated to be the year that anamorphics become affordable. Atlas lens was not the “new” manufacturers I was talking about. That video was about Atlas lens, but Altas Lens was not the “new” manufacturers I was talking about in the video when I said, “you may want to hold off from buying the Atlas Orions for now as more manufacturers are entering the anamorphic market and 2018 is slated to be the year anamorphics get affordable”. 1.56 into the video...

I got the A5 in a rush (after finding last minute that the Ninja 2 does not work with the NX1), and have been shooting with it every day for the past two weeks. I'm pretty happy with it. Regarding the discussion of the brightness, it's adequate. I've had the brightness at 50% and it's viewable outside for framing and peaking, though it's no match for an EVF. All in all I would totally recommend it to anyone on a budget who doesn't want a massive 7" monitor. But make sure your batteries work before using! Here are my pros and cons, loosely in comparison with the Feelworld FW760 that I used to use. + Smaller but still 1080p. 5" vs 7" is a huge difference - and also it has thinner bezels and is thinner so it's actually much much smaller. + MUCH lighter. Makes my setup more balanced + HDMI out + Mounting points on three sides + Screen is fantastic. Focus peaking works very well. + It remembers settings through power on/off cycles. The FW760 would reset everything if it powered down. - The battery plate is finicky. It's not a problem for me since I power everything from a power bank (I didn't even own any batteries for my FW760). It will not work with a Wasabi LPE6, but it will work with an Ipax LP-E6, even though BOTH of those batteries power a 5D3 perfectly. - Plasticky. I think the FW760 felt a little sturdier, but not by much. However, the mounting points seem secure and it's not going to fall apart in your hands. Sort of the build you expect from a screen this price. - Only one customizable button. - False color does not have a color scale on the side, so you have to guess what IRE each color corresponds to - The 1/4-20 threads are too shallow. I had to put a few washers on my friction arm's thread. - The hot shoe mount that comes with it is junk. - It would have been really nice to put one of these on the back: https://www.amazon.com/SmallRig-Camera-Threaded-Monitor-Accessories/dp/B01NCK79G2 . I had one on my FW760 and then used a lock washer on the friction arm to keep it from accidentally rotating.

I am run and gun; sticking with the MFT Sigma 16mm F1.4 and 30mm F1.4. I don't need better focusing. Will probably just keep the Sigma 60mm f2.8 with me too for occasional use, or it's forthcoming successor. I think there is some in-camera correction though with these lenses, so maybe the 16mm will just have to be tested before settling on it for sure.

I also gave my vote to Tiffen, of course fixed ND is always going to be better, but for run and gun and docs a VARI ND is a life saver, there are tones of youtube videos about ND filters, comparisons, recommendations, etc, for price and quality, Tiffen is the way to go... Below is a good comparison video that can help you to decide..

I'd second the Tiffen recommendation. Got it again after breaking one a year ago (and it took a lot of force to break!) For docu work I can't imagine not having one. If there's color shift, I reckon it's the good kind - I like the skin tones with it.

I have the Tiffen Variable ND Filter - after looking at lots of comparisons it's pretty sharp (important!) and the color tint isn't too bad (AWB takes care of it). I do recommend it, although you missed the rebate on it where it was like $60 USD a month or two back. I also have the Breakthrough 82mm filters in 10, 6 and 3 stop. FWIW, I'm still mainly using the Tiffen filters because it's much more convenient when running around, I hate changing filters. The Xume thing is a good idea but I'm not convinced the IQ is worth the extra hundreds for the Xume stuff (I haven't done any indepth comparisons but haven't really noticed anything different when using the Tiffen vs the breakthroughs - I know the breakthrough is "better" but for an interview it's practically unnoticeable). Plus I don't really like what it does to the WB, but maybe I'm just not used to it. The varibales are just so much more convenient, and it's really not that expensive for the Tiffen.

Shrug, I haven't performed super mega detailed testing, you can find MANY test all over the web, but I like my SLR Magic variable ND.