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As some of you may know, I've been on a lookout for a 75mm lens. I almost bought Voigtalnder 75/1.8 Classic, when I thought: hey, if you already use anamorphic adapter that was not meant for cameras at all, why not try to adapt a projection lens, as well? So I did some research and concluded that some modern German optics (Schneider Kreuznach / ISCO) would be the best choice for me. Fortunately, there was a Schneider Kreuznach 75/2 Super listed on eBay. I pulled the trigger and bought it. Here is the funny thing: normally these are attached to the backs of anamorphics. Mine copy was detached from Schneider Cinelux ES 2x With help of my soon-to-be enginneer friend we adapted it to Sony E mount using M42 macro extension tube, M42→NEX Fotasy Helicoid, 3D printed part and a bit of glue. I'm really happy with the results. The image is detailed, bokeh is smooth and pleasing to look at. It needs some contrast and saturation boost in post, though. Thanks to the helicoid, focusing is really smooth and precise. (Bought it from RainbowImaging on eBay, really recommend them, since I got my order just in 2 working days, which is unbelievable, considering they had to ship it from NY to Poland) It covers full frame without any additional crop. With red ISCO Ultra Star I get some soft vignetting in the corners in photo mode (you can judge it by yourself looking at the images; no cropping involved), but I normally add vignetting in post, so it doesn't bother me. The only downside is the fact that there is no aperture. It's fixed at f/2, so the depth of field is a little narrow. If you have any questions, feel free to ask them. Cheers! Kudos to Mike Lee (http://www.mike-lee.org/scripts/camera/main.htm) whose articles inspired me and resolved many of my doubts. Normally, this little feller looks like this:

I'm not getting paid at the moment to make videos, so when I decided to upgrade I got disappointed that Canon R is fragile, not very interesting and expensive lenses, the Sonys are still lacking 50p 4k and a tilty swively screen and the Panas, DPAF. At the end I decided to get an iPhone XR and some moment lenses to try the DOP effect and damn if it's not surprising how versatile is. I made a video for the work with a Zhiyun gimbal and everybody enjoyed the content, nobody cared how it was shot or the depth of field. Also I've been taking portraits for my colleagues for Iinkedin and social media and the computational thing with an app like focos is good enough. Phones are already there and the only way I see myself now buying a 1" sensor camera is if they include a mic input and some depth sensor in it. The software on the computer side needs to start using this information too. I'm going to wait and see for a year how this develops but I got lazy after this upgrade and every time I see the Nikons and Canons being pushed on youtube I want to buy less and less a big camera.

There are lots of good software choices out there, and for simple stuff it probably doesn't matter which you choose. A little history lesson that may (or may not) be relevant to choosing a DAW.. I remember there being three major types of audio packages: Those designed to work with notes (MIDI at first, but samples later on too, eg Logic) Those designed to work with loops (eg, Ableton Live) Those designed to work with long tracks of audio (like recording an orchestra, eg ProTools) It's gotten to the point now where the big packages can probably do a respectable job at all three, but there may still be advantages to getting a package with the right 'heritage' because it might have more features you'd use. I would imagine you would be more likely to be working with loops, or working with the timing of drum samples, rather than creating tunes, and this is where loop based software can often have an advantage. For example, in a good loop based DAW you can change the speed of the song and it will slow down the loop samples, programmed elements, and perhaps the effects too, so that everything stays in sync, whereas other programs may just make a mess of things. In addition to this, Ableton Live has a performance mode where you can take pre-written sections of a song and kind of mix and match them live, allowing beat-matching and other cool stuff that DJs like. It depends on how you work and what is valuable to you. Logic might have similar functionality too, I'm not sure, but Ableton Live is just the one I'm familiar with. When you're making beats, you want access to enough different samples and you might also want velocity sensitivity (so it knows if you're hitting it hard or soft). You may want a keyboard (which has both) or you might find that something with pads is nicer. Pads are rubbery and softer to hit, and are therefore nicer on your fingers, but aren't that good for playing tunes. Something like the Arturia Beatstep: I bought this one and it's really solid, is powered by USB so is portable, and has the knobs which make mixing or effects programming so much nicer. The other thing is that you don't NEED anything except a computer, some software, and your microphone setup of choice. The rest just makes doing things easier. My advice is to remember that music is a creative pursuit, and you should only buy things that help you be creative. In general, technology is distracting for creativity (having to remember which button does what and how to change modes really kills the creative flow!) so buy things that let you be creative by getting out of your way.

I've been playing around with multicam using the C200, 1DXMK2 and Nikon Z. All three cameras can be made to match well enough. The Nikon's 10 bit footage can be manipulated a fair bit. The Ninja V always needs to be switched to the correct camera settings... which is a nuisance. I learned the Sound Devices MixPre 6 cannot record trigger from HDMI.; apparently a bug. Overall I'm liking the output from the Nikon. I'm sure I was doing something wrong with the AF... granted I was trying to set it from behind the screen. I'll use the app next time. The 1DXMK2 is set and forget. It nails AF and doesn't let go. You don't know what good AF is until you have used the 1DXMK2. Frankly for AF, it is the best I have ever used. The C200 is of course a C200... it just works and delivers. I'm considering using the 8 bit. I might do some test to understand what one gives up in doing so. Anywho... here's some footage of me rambling...

I can completely get what you're saying. While I love ILCs, sometimes it's too much to carry for a Short Trip, regardless of how tiny the ILC is. Therefore I am hoping that 2019 sees much better smartphone cameras for photos and also for video. I usually feel iPhones are grossly overrated in the photo and video department, but this last batch had been pretty amazing at both. And the FilmicPro Log V2 seems quite promising to be honest (though the LuT seems to be too harsh on the Dynamic Range). If a smartphones gets good photos (dynamic range, low light and zoom), and video (Log Profile, good dynamic range and high bitrates even if it's video a paid App, and preferably 10-bit or 10-bit in an 8-bit wrapper) I would like yo pick up one.

No they are not! The Samsung smartphone has true holographic technology... not a simulated holographic display. The Samsung phone mimics what we saw in Star Wars. Red might be the darling of Hollywood, but make no mistake of it; Samsung could crush them anytime they choose to.

Glad you like it! I paid ~50 $ (that's right, fifty USD) for the lens itself, 24$ for the helicoid and 8$ for macro tubes. I think it's a really good deal, isn't it? ( : Haha, I wish! These things are really hard to get in Poland, to be honest. If I wanted to soften the image a little, I think I'd use an actual stocking instead. ? Thanks!

1dx mark iii is on horizon if am correct , that would be some competition

Back to Canon, yeah you will be going back alright, back to about 2012 Tech.

All you have to do is rent some expensive ass car, and find some big Assed Hoe's, wear a bunch of gold shit, and you are in business. All sounds the same, so the sound and lyrics part doesn't really matter. People are only looking at the Car and the Hoe's anyways. ?

Much better

uhh i WASNT considering it until this thread got so advanced and then i was like Hmmm........ Kaylee gang? ? kaylee gang kaylee gangkaylee gang? ? that was easy! seriously tho, thank you SOoo much guys, now i have some stuff to research instead of just following my nose in ignorance. THANK V MUCH edit: one more thing, ill just leave this here

Stuttering (maybe 5fps) playback of PROXY media to the point audio dropping out during said playback. These are 1024x540 res PROXY files that were created by the default PROXY settings in PP and created in Adobe Media Encoder. Bottom line, the new software couldn't playback those clips. My issues were happening on an older machine, but the older machine could handle the exact same project just fine in 2017. Once that project was loaded into 2019, nada. All settings were identical from the project in 2017 to the project in 2019, including all preferences. My conclusion after internet sleuthing was that 2019 just demands more processing overhead for some reason. Don't really care why this is, it just does. That's my experience and it caused workflow issues. So....that and some random unrecoverable crashes that I hadn't seen before made me nope right on outta 2019. I got better things to do than trouble shoot beta-level software. Couple of nice features that come with 2019, but without a certain level of workflow stability, just no no no. Yes and no. When I'm pulling and pushing the grade it's usually during the coloring stage --and proxies are turned off at that point anyway so you're seeing a pretty accurate rendition of what you're gonna get from your source footage+grade. Sometimes I'll quick color grade a proxy too as I'm editing; it holds together enough to do the basics. And, as mentioned, all fine tuning I do with the source footage anyway. Basically I'm saying that, for me, working with proxies doesn't really affect the coloring workflow. It does, however, make the basic editing so much more pleasant. Just scrolling footage in the thumbnails with no lag is such a blessing.

Yes, a good review. I have the Osmo Pocket for a week now, and although I've had a little time to test is properly, I tend to agree with the reviewer on many points. The video quality is good, surprisingly good for such a small camera. The sofware, however, both in the Pocket iiself, and in the Mimo app, seems somehow unfinished and a bit confusing. The better manual is also missing. The icons are not so intuitive, some options works in a strange way, or even don't work - like exposition correction in the the Mimo app, or, more important to me, a way to stop down overall exposition - one can change ISO down to 100, but still the light is too bright on a sunny, snowy day like here where I'm, so I had to increase shutter speed up to 1/800 (and the footage remains smooth, to my surprize, like it is not shutter speed change!?), since I have not found yet the way to stop down the aperture itself (it's more like it is always on f/2). - But it is good in low light, for inside shots, and my overall impresion is that this Osmo Pocket is useful for home or private (like travell) use. The footage is good, well stabilized (here I don't agree with the reviewer), and not bad for grading interventions in post. I hope the DJI will soon give us better software solutions for this interesting toy.

I am editing my current doc with PP and I'm getting it done. My anecdotal experience says it can handle large projects (100hr+ of footage) such as a feature length documentary, but with caveats. 1) You should use proxies 2) don't do any complicated compositing 3) use an old version (I went backwards and am using CC 2017.1.2) 2019 just about killed me for a week before I did a XML export and took my project to an earlier version of Premiere. Premiere Pro crashes, but I can't say more or less than my FCP used to. Still, PP just never feels "solid." There's no objective way to qualify that assertion, you just need to use it to get a gut-level feeling about it. That feeling has never been reassuring for me. Also, the way PP demands media to be loaded into a project in order to migrate sequences is, augh, such a pita! That mundane detail might seem trivial to the uninitiated, but to those of us trying to move edits across different editing seats it's absolutely horrendous.

Well, against a lot of folks’ recommendations I went with the Zoom F1 since I predict I will be using lavs to record the majority of my dialogue. I believe it will suit my run and gun needs better but I do want a separate field recorder for foley and the occasion that I want/need more tracks. Right now I’m leaning toward the H6. But since these instances will be so rare, the R8 could be suitable in a pinch. Plus the preamps seem to get good reviews. The price is right and I love the control surface capabilities of the R8 which I just found out is compatible with Reaper. Thanks for the heads up! This is a little OT but does anyone have any experience with the Roland R-07? I love the size and portability and the Bluetooth seems pretty invaluable for inconspicuous recordings on trains or in the public.

Its form factor and 2 simultaneous input limit definitely put it into the 'can be pressed into service as' category of field recorder rather than a first choice. Although for someone who doesn't have a separate field recorder it is certainly serviceable.

As a writer, I recently became interested in audio dramas and am in the middle of setting up a similar space for voice recording, except I don’t even have a closet. For an audio interface, I went with a Tascam but I may end up getting a Zoom F4 or H6 to double as a field recorder for my films and to make the audio drama recording more portable. My friend produces audio dramas and he uses a Scarlet. But @BTM_Pix ‘s R8 suggestion seems interesting to me as well. I’m not familiar with the product but it seems to be a decent compromise if you’re interested in both voice and music work... how well it would handle as a field recorder for my needs... I’m not so sure? As a DAW, I’d agree with @KnightsFan , Reaper is pretty amazing. I just downloaded the trial which is the full version but I think it’s only good for 60 days now and then it’s $60 to purchase... a really amazing piece of software for the money with some pretty wicked filters. If I were @kaylee I’d stick with the SM58 microphone. I went with the SM57 for two reasons... I like the look of it better than the 58 (silly I know but I tend to work better if I like the look or ergonomics of my equipment) and I was pretty impressed when I read that every US Presidential address has been recorded with the SM57 for the past 30-40 years. But the SM58 is truly a classic mic... especially for the price. Mic drops aren’t breaking that thing. Lol. Plus a dynamic mic will work better for the recording space she’s describing.

I use Reaper as a DAW. It has a free trial thay never actually expires, and the full version is like $50. Ive been using it for maybe 4 years and absolutely love it. I mainly use it for mixing for films, but have used it occasionally for recording simple stuff (which i do in a closet with heavy sleeping bags hanging about for isolation, if you are looking for budget ideas). I use my zoom f4 as an audio interface, and monitor with the classic mdr-7506 headphones.

@kaylee I’ve been recording for about 10 years now. I wouldn’t personally use Adobe audition for a DAW. I used to use pro tools but for $299 I’d say pick up either Logic Pro or Studio One- no monthly payments for me lol. I personally use and LOVE studio one, I have the pro version3. Next- get yourself a decent audio interface such a Focusrite Scarlett’s 2i4 or 2i2. These are pretty cheap around $100. Next you can use the sm58 but I’d pick up a $100 large diaphragm condenser microphone and a pop filter. If you are making beats you will want a midi keyboard at the minimum. If you’re just buying beats then this won’t be necessary. Spend some time on YouTube and find some good tutorials but it’s not any harder than video editing, just a different creative hat to wear! Finally pick up a good pair of studio headphones or monitors so you can accurately hear everything. Nice studio monitors can help with video editing too btw. I have a set of KRK RP5’s and the KRK Kns 8400 headphones. These are fantastic! best of luck!

Thank you man! I'm not totally satisfied with it but I'm glad people like it That was shot on the G85 + EF-M2 + C 16-35 2.8; graded in FilmConvert