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The 1DXMk2 with lens is huge and heavy. It feels much heavier with lens than the X-T3 with lens. Battery grip or not. Don't get me wrong... it's built to withstand war. But that said, it's not the kind of camera that you take along on a whim. This is the strength of these smaller and lighter cameras. Btw... thanks to everyone for the kind words. We all know it takes guts to put your work out there, and while there is nothing wrong with constructive and positive criticism, I feel it reflects poorly on the community when things get negative. Remember, being negative with film just doesn't work?

Shot on GH5 with store sequence in 4k anamorphic mode with Baby Hypergonar 1.75x anamorphic attachment. Taking lens was MeVis 50mm f1.8 shot wide open. Outside shots in 4k with Bolex 8/19 1.5x anamorphot with MeVis 35mm f1.6. Shot at f2.8 with ND filter. Rectilux ProtoDNA variable diopter was used as well as Fujinon Close Up attachment. Colored with Film Convert. I wanted this to be a light and fun run and gun test vs a highly technical test. Here is my write up on the ProtoDNA. I will add more info later. https://docs.google.com/…/1wur5R39J-MUMF30jurvd8__sqx…/edit… Here are some pics of my 8mm anamorphic lens with the ProtoDNA. https://photos.app.goo.gl/KiL5jZp4MRojR9tZ6 I hope you enjoy. Cheers!

Wait. Shooting a dark scene does not necessarily mean crazy high ISO. You really need to think about what you are exposing for. Do you want to see beams of light, with body shapes looming out of the shadows? Or is it important to see the actors faces, even when they are in the dark parts of the set? Darkness is suggested by high contrast, not just by making everything dark. So the trick is to get some specks of bright light hitting just the things you want the audience to see. Also, it's common for dark scenes to be lit slightly higher than intended and then 'crushed' somewhat in post (the shadow values taken down). This allows you to preserve a bit of detail in the shadows without the crazy ISOs you are correctly trying to avoid. The problem you will have with this last method is that, as I mentioned before, the real trick is to preserve high contrast, and if you raise the shadows, you also have to raise everything else - in other words, your flashlight and accent lights will then have to be pretty powerful. Spot metering is your friend. Do some tests. Grade the tests. A monitoring LUT might help on set if you are doing a kind of 'day for night' job.

Now P4K is out and it is rather easy to figure out that manual focus is the only way to go alongside this camera, also time to explore the best route to go other than native glass: https://jimchungblog.com/2017/12/15/viltrox-ef-m2-adaptor-tested/ http://www.verybiglobo.com/metabones-speed-bosster-ultra-review-part-i/ http://www.verybiglobo.com/metabones-speed-booster-ultra-review-part-ii-canon-ef-501-2-l/

Geoff, Thanks for the heads up at Allens Camera, I just purchased it.. Can anyone recommend a external display for the Cinema 4K I don’t need recording.

Atmosphere (fog or haze) is very often used to give torch lights those volumetric beams, btw. One more point - the most important aspect of these kinds of lighting setups is the modifiers. Particularly you will need quite a range of flags to control where your highlights end up, and to protect the rest of the set from stray light. If you can't get hold of professional ones, you can improvise these with bits of thick cloth or cardboard. But *IMPORTANT* be aware of fire safety using these materials alongside hot lights.

Pocket 4K tap-to-focus feature is actually unusable so better to accept manual focus as mandatory in this camera.

Video processor to view and convert MLV files on Windows. Yep PC only.

Like I said before, and most people disagreed with me, the future of m43 is a gimbleless future. If they can give us perfectly stabilised footage straight out of camera that alone makes it unique among the competition and saves a lot in time and the extra cost of a gimbal. I don't know what 7.5 stops will mean practically once they do their crop but I would imagine we are getting pretty close.

I've been periodically reading the Magic Lantern board out of interest. I sold my 5d2 years back and bought the 1DC. There was always something special about the 5d2. Anyhow, for those interested Reddeercity from Magic Lantern seems to be making progress with the 5d2. Reddeercity's post: Looking in to the HDMI resolution limitations , if everyone doesn't know on the 5D2 the HDMI output @ 1650x1080 60i 4.2.2 uncompressed (1500MB/s) It anyone wondering why the 5d2 has this res. when standard HDMI is normally 1920x1080 or 1280x720 From what I can figure out there was no need for 16x9 format (After all 5D2 was the first to introduce Video to DSLR's) as a second thought . So the main object was Photo's and a 3x2 format was needed for photos in Liveview so hence 1650x1080 . So I connected my HDMI Evf & loaded ADTG_GUI.mo and saved a log file So I may have found some reg's that control this . Code: [Select] c0f11314: 4d70653 .... LiveViewMgr pc=ffa07c28 addr=ffca88e0 LV resolution (raw.j.height | lv.width) before upsampling?If you convert this to decimal you get 4d7=1239 & 653=1619 so 1619x1267 , look very close Code: [Select] c0f0713c: 4f5 ...... LiveViewMgr pc=ff8e1830 addr=8328 HEAD3 timer (ticks?) c0f07150: 681 ..... LiveViewMgr pc=ff8e1844 addr=8370 HEAD4 timer (ticks?)convert this to decimal 4f5=1269 & 681=1665 so 1665x1269 I could be totally wrong but that so close , now there's more then likely more reg's evolved here , it could be the hd buffer is the limitation. There a few reason why I what to hopfully fix this issue , First: to get real full 1920x1080 so it would be usable without resizing . Second: the HDMI spec 1.3a allowed up to 2560×1440 at 60 Hz & 1920 × 1080 at 120 Hz Since there's 4k monitor's & recorder out there and getting cheaper everyday, well I thinks it time to look in to this to see it it's possible . Edit: Ok I forgot to mention the hdmi 1.3a supports 8bit(24 bit/px) , 10bit(30 bit/px), 12bit(36 bit/px), 16bit(48 bit/px) up to 2560x1440 60i Color Space: RGB, Y′CBCR 4:4:4 & Y′CBCR 4:2:2 and apparently hdmi 1.3a supports UHD 8bit(24 bit/px) 3840x2160 30p 4.2.2 & 60p @4.2.0 and also 5k 8bit(24 bit/px) 5120 × 2880 30p 4.2.2 Maybe there's hope yet for real-time hdmi UHD up to 5k preview

April 9th 11:53 AM PST. Don't know number in line. They just confirmed by sending me an email asking for the balance for shipment.

That's just a matter of taste though, I'm a Canon shooter but happen to prefer the Eva and Varicam colour science. They all make beautiful images though so just depends whether you want to shoot predominantly RAW internal or you need more flexible edit ready codecs

22 minutes later... WOW Say then to @John Brawley & @CaptainHook (I'd really like to address it to Grant Petty as well, but I guess he has already been informed directly and through his brand reps too ; ) this site doesn't sell cameras... Sure not... How have so many units been sold anyway...? ; ) I presume because of tap-to-focus feature, correct? LOL : -)

Allen's Camera in NJ has a practically brand new one that someone dropped off in store, they have not listed it online yet. Selling it for $1050. I can't afford to right now, someone grab it before I buy it anyway

Great stuff. The GH5 did real justice to the colors. Well done, music and all.

A tribute to the vibrant street art scene of Miami. Mainly shot with my beloved GH5 for video and 6D for timelapse and hyperlapse.

The Cable Pack arrived today and it works as expected.

Same size.

Since forever... the C200 drops to 10bit when shooting 4k 60p in RawLite. As for the cost of CFast... well yeah, depending on your budget it may seem expensive.

From m43 rumors source 'The camera is the perfect working tool. It’s worth the high price of $3,000, I guess from what I’ve seen. Lying in the hand like the legendary E-1 (see picture on top). It’s even better balanced than the MKII. You hardly notice the little extra weight. With the 300 F4 as well as with a 45 F 1.8 the camera sticks in your hand as if glued on. The sensor exceeds all expectations, as does the stabilizer. The camera has 3 types of high res shoots. What really pleases me is that finally the charging via 15 V USB port works. Then I can finally charge my Powerbanks via solar cells while hiking in Nepal and then connect them to the camera. But the best will be the extremely high data transfer rate when transferring live data to a server over the air. The charger charges the battery extremely fast, thanks for the investment of an additional $4.80 in development. for those who have waited a long time, the mc-20 also comes. So, look forward to the launch of the camera at the end of january 2019 and 2 more “small cameras” next year. You will smile when you see them.' $3000, damn that's a hard sell.

I just got the Aputure LensRegain for my Pocket 4K. Will report back when I've done some testing. I already have the Metabones XL and Viltrox and I love them. I got the LensRegain for a lightweight remote focus solution for my shoulder rig. Initial testing has been very good.

You should have bought that Pink Flamingo instead LoL. Everyone in Florida is suppose to have one in their front yard. That looked liked a Voodoo Doll that put a hex on you. Well done.

I would expose to the flashlight(I rather shoot at iso 400 then iso1600). Then light the room to fill darkness. Crush the blacks on post. Use haze instead of smoke.

Do this: 1. Light the room enough with soft lighting to maintain exposure at ISO1600 at most with reasonable contrast between areas. Don't go higher than that, because you may need to bring down exposure to ISO800 later, if need to, to ensure there is no noise in shadows. Also ensure none of the lights are anywhere near the frame and are super soft. 2. Fill the room with smoke (the fastest and easiest way is to use a Vape/ eCigarette) and spread the smoke around to make a Very even but thin layer. Ensure that there isn't any moving air once you fix the smoke in the room. 3. Use a strong torchlight and see how glary or contrast the light it. Adjust the smoke and light intensity accordingly. 4. Maintain a cool colour temperature in post, to give it the correct night look. It's shouldn't look warm. Also try and set the lighting similar to the torchlight so that the colours don't dance around.

in this vid, the Viltrox looks more blurry but on other vids it looks sharper than Metabones. I am confused.

I say properly lit it and "fake" it, cause if you can figure out and master it you will have some really valuable skills from it. Go watch some classic movies with night scenes, you can be pretty sure most if not all of them are lit, take elements you like from those and try to figure out how it was done. You can still get away with pretty low amount of light and small LED even with crappy color will do fine, you are going to have very low saturation at night anyway. a bunch of 1$ light meant for closets for example, be creative. Forget the 180* rule, if you ever walked around at night any movement will blur very fast, so cranking it as slow at it will go can work for that feel, and save you a stop of light too. It will also limit some of the "strobing" you will get from bright lights or highlights when panning.

When in 100fps the minimum shutter speed is 100 and not 200.

I'm not sure that's available to buy yet. Personally I've also ordered the Fringer to see if it's better than the Viltrox. There are a few quirks with the Viltrox that I'm not happy with. It struggles to focus on some lenses at maximum zoom length, and also with my Canon 70-200 F4 the stabilisation switches off after a few seconds even if I'm recording. I'm going to test both and decide which to keep. The Fringer seems to have very good support and frequent updates, so I'm hopeful they will have sorted out some of the kinks. Having said that, it is more than twice the price of the Viltrox!

I have to say that I'm not sure that it actually is that easy to understand why manual focus is the only way to go. The AF adapters don't just work with the two major MFT camera makers but also with the MFT mount JVC LS300, so I don't really get why BM can't get them to work? Or why no one seems that bothered about it either. Does the camera offer the greatest AF options in the world anyway? No, of course not but its quite adequate especially the area touch focus function. In addition, the throw in manual focus mode on a lot of the lenses that people would be looking to adapt is often very limited so its a bit of a pain to work with them like that. If BM have no intention of changing this in a later release (and the fact that no one seems bothered about it suggests they probably won't) then I'd say the Aputure device would be the one to get if you can get hold of one as it gives you a bit more precise control of those lenses and of course is the only one to allow any sort of hands off control when it is on a gimbal. In addition, as it does slightly less reduction than the others it makes it far less prone to vignetting on APS-C lenses.

@graphicnatured or any of you, if you are in the market for a focal reducer, better to take a look on this new thread:

@mercer yeah, i made my short in resolve, its easy once you get the hang of it!! as far as color in acr vs resolve: it IS different, but... its darn similar. one thing ive seen for sure is that resolve gives a render with slightly more detail – i did some comparisons and thats what i found. but the difference isnt dramatic grading from ml raw in acr feels more different than it is, i think because im always using a super flat bmd profile in resolve, building up an image from what is virtually a gray rectangle, compared with the punchy saturated look youre greeted with in acr

DR10L on sale today only white so a good choice if you shoot weddings https://www.bhphotovideo.com/c/product/1331924-REG/tascam_dr_10lw_dr_10l_mini_portabl_recorder.html/mode/edu/mode/edu

I've used the Viltrox EF-M2 exclusively and it works great. You will loose an AF abilities the lens has, but I understand that's also the case with Metabones too. I assume you're not buying this for AF anyway, but worth mentioning just incase.

Brief aside, kind of related: Back when I was a magazine publisher I had an advertiser go ballistic (he took us to court over this, but we won.) His complaint was the the green background in his print ad wasn't the right shade of green and that made his ad less effective (also, his ad was terrible.) Turns out, beyond not asking/specifying a Pantone spot color (which we wouldn't have allowed anyhow) his output to file was RGB (not CMYK, which is how we printed so there was conversion on our side to make it printable), he worked on a non-color-calibrated system, proofed with a desktop, low-end consumer printer (which he expected to match the final magazine) and his whole layout was Microsoft Publisher which had no means of doing anything properly let alone color matching. Browser to browser shifts in gamma or hue seem so small in comparison.

That's the thing. People will complain about the size difference of DSLRs to mirrorless, but once you put something on a gimbal it is moot. You can't film anywhere without, like you said, sticking out like a sore thumb. I can deal with the camera being a little bit bigger if we don't need the gimbal. I think a combination of hardware and software stabilisation would get the job done. Plus bigger body means better heat dissipation and better codecs.

Well I have big hands, fingers. So I pretty much Have to have a Battery Grip. I have one on my A7s, and my pinky finger hangs below the bottom of the body without it. I can't even use my Sony RX10 mk I because the aperture ring on the lens cuts my finger it is that tight. So my circumstances dictate I use a camera that is a bit on the larger size I guess. But I weigh like 240 pounds so. Always been near 200 pounds even when I was younger.

Z6 in the YouTube title. Z7 on the titles. What to believe. Christ.

Well we make art primarily for ourselves and get a lot of pleasure putting it out there, sharing it with other people. It's up to them whether they have a proper view from the crowd or not. It's a shame a lot of them don't but nothing we can do about it Tech companies on the other hand could start by getting their fucking act together

Well it has 14 five star reviews out of 14. Can't be too bad. ? The last 2 reviews of the 14 say they are using it on a Atomos recorder. So sounds like a winner.

@kaylee I only use Resolve as an intermediary to process my footage to ProRes. Well that’s not entirely true... I’ll trim some fat in the editor, make WB corrections, tweak the exposure if needed, turn it into BMDFilm (or sometimes I’ll just leave it in Rec709) and then I’ll transcode it to ProRes. I’m pretty settled with FCPX and don’t really have the time to learn Resolve. So I do any final color work in Final Cut. But I’m really just doing test grades at this point. But I haven’t really settled on a final workflow yet because I am just testing methods as I shoot the film. How do you process your footage in Premiere if you aren’t using ACR?

"I just need to select "Collect Files and Copy to a New Location", correct?!" Hey. I haven't used this feature in a while but this is correct. I would suggest to do a quick test with a new project. Throw a bunch of files in your timeline (video, audio, titles) and try to export it to see how it goes. And yes, you can also transcode. "And btw, is it possible to export all individual cuts in a sequence, but with IN/Out points and also with some margin at star/end of each file? Let's say, 2sec pre/post-roll... I'm not sure If Premiere is able to do this." I don't know about this but you can surely find a solution. Since the export feature in the project manager is based on the sequence and not on the IN/OUT points you could just copy paste what you need in a new dedicated sequence and export it. If you need a 2 sec margin simply add an empty adjustment layer or empty tittle or black JPEG that will act as your margin.

I just received my Kipon. I'll be reviewing it this week on the Nikon Z7. E-mount version is the same glass.

If you want to stream wedding videos with unlicensed music then it's easy enough to host on your own VPS. The traffic will be minimal & no record company could ever find your content anyway. Same goes for proof copies & demos for clients.

I don’t see Panasonic abandoning m43 anytime soon, they have a complete lens lineup and by all accounts the GH line and others have exceeded sales expectations. What I do see is something similar to Sony with aps-c, new bodies and few new lenses over the next 2-3 years. Panasonic pretending PDAF doesn’t exist isn’t doing them any favors either, but that’s another argument. Where m43 fails is at the $2k+ price point, especially on the stills side. CaNikon still dominate with 3/4 of the market and they’re still heavily focused on the photo side of things. M43’s strengths are size and stabilization. Once you move into high end m43 with fast zooms and primes, you can easily go with a larger sensor in Fuji or Sony, and build a similar size/cost kit that delivers superior IQ. IMO m43 still has a great future, but trying to push upmarket with a small sensor is a losing proposition. People do cross shop and compare things like DR and IQ, they’re clearly choosing other options. Mirrorless is the future, but casual ILC buyers are shrinking, that’s why we’re seeing so many new bodies aimed at more advanced shooters with higher price points. Chris

I was able to recover the file using Resolve. In media -tab, choose the clip -> right click -> Clip Attributes -> Data Levels -> Change from Auto to Full. Voila! Before I figured this out, I made a massive investment (over 4€ )on eoshd recovery lut, which didn't recover anything in my Ninja V files from X-T3. https://youtu.be/bwFRWWNSFlY

Just a quick test. Big difference!!

Oh Gawd....don't go giving them ideas for new episodes...

The only unknown is the white balance on both cameras. Sean mentioned using a white card to properly set it, but this doesn't have to mean that it was set the same. Besides, have anyone heard about this C / M / Y correlation regarding skin tones?

Nice topic. This one i did with a modified Isco 36 (now cine Iscorama mkII). I used different taking lenses (voigtlaender 40mm 2.0, Nikon 50mm 1.8, 58mm Helios and i think there was a 80mm Nikkor as well) I used the Gh5 on a Letus gimbal in 4:3 full sensor mode. So the final frame was a 2:1 ratio in 4K. Which gave me a lot of freedom for reframing.