Leaderboard

We write the file headers/close the file every 5 secs during record, our cameras since the BMCC have always periodically written the headers/closed the file so at most if you lose power you might lose the last 5 secs of the clip. If you lose power before 5 secs of recording, then it could be an issue.

We do not own the sliderkamera 6 axis, but we do own both motion controllers and gimbals. The gimbals are great if you are filming on the go and you are not the subject. They are no good if you are filming yourself. The motion controller makes more sense in this case. Granted the motion controller is also useful as a second shooter. We use both the Ronin S and Edelkrone Motion Kit with HeadPlus. Both are quick to setup. The Edelkrone can be aimed by hand, which is a real timesaver. If I could have only one, it would be the motion kit. Why? The motion kit captures cinematic motion every time. It never makes mistakes because the human factor is removed from the performance. Every move is repeatable; which makes for the possibility to create some very interesting vfx scenes.

@Snowbro its possible that youre seeing other EOS cameras that ppl have drawn little white Rs on to look "cool" -- dont be deceived

Anyone feel like taking our own advice and making a bunch of >1 minute films? It would support Zach, but it would also be a bit of fun. I'm in if others are.

If anyone is looking for a very budget friendly mid to long tele zoom to the 55-20mm for Fuji and don't mind losing a bit of speed (but gaining some reach), the 50-230mm 4.5-6.7 is worth a look. It has OIS and a very, erm, "lightweight" construction but optically it is very good. I did this test of it up against the 50-140mm on my X-T2 a couple of years ago and as you can see even when you crop right in it isn't exactly disgraced in comparison. They are regularly available used for under £150 (I actually got mine new for less than that but I think its because it was in the garish silver finish!) and if its range that you don't use enough to justify putting the much bigger amounts in then its definitely worth some consideration, particularly if you are looking for something travel friendly.

Fair enough. Just as an FYI though, the powerbanks are just varying amounts of cells so you would have to really try hard to come to any harm if you followed the same simple insulation practice that the manufacturer uses to the actual metal outer case itself. I modded one like that for my nephew to use with his A6500 and he seems to be doing OK with it.

Thanks I would give it a shot once I've caught up with my projects. Coming from Vietnam, I have to say that screenshot you took really reminds me of home Thanks for the kind words. It is a really lovely len. I'm planning to get the 85 1.5 reissue and a focal reducer for m43-m42 as well. If only there is a wider angle len with the same look, I would be set.

oh noes!!! no rush, it's cool ???

Idk lol, I initially decided to make it super rich, and then made a bunch of little adjustments with no clear reason other than "this looks cool." I think I increased brightness on the yellows to make those yellow bits on the red poles stand out, I think I increased saturation on the blues to make his shirt jump out. As usual for my grades, I decreased saturation in highlights to make blown out areas a little less "angry." In hindsight maybe I'd use a similar grade for an Agatha Christie-esque murder mystery. Mildly stylized with a loose connection to reality, but sadistically intriguing in how it teases out people's dark secrets.

I made my first films built around short 1 to 5 minute comedy sketch ideas. My friends and I would air that junk on the local public access station. It was stupid and ultimately embarrassing stuff, but it got the ball rolling. Most of us have to do it wrong to learn how to do it right. Point is, you can't do anything if you're not doing something.

Here's my idea for a free perr-to-peer colour grading course for all of us. We have a bunch of people with skills here, so I imagine we can learn a lot from each other. Idea: Someone films one or two short clips and uploads the files SOOC People have a go at grading them and upload results We comment on what we like about people's work (someone might be good at tone, others at colour, others at something else) The people who did the grading share what they did so the rest of us can learn from it Repeat I'm happy to record some nice clips to get it started. It would need people to actively participate though. If only a couple of people actually grade anything then it won't work because they won't have other work to learn anything from. Who would be interested in actively participating by grading and sharing their results?

That is a thing of beauty.

https://www.t3.com/news/motorola-razr-2019-folding-confirmed This could be an interesting proposition on the subject matter, but on the opposite side. Tiny phone (like the good ol'days!), good sized portable media device. An 7-8" tablet is small anyway these days. My very small LG G6 is 5.7" 2:1 586nits, and the Samsung S9+ went to my other (better) half as it was highly inconvinient to carry around, especially in working days (the screen shape of the Samsung is a nightmare, already changed half a dozen protective glass). I can see easily my next phone to have a similar size and a 6" screen. So why all the trouble (and money) for a 7.3" or 8" tablet, when a Surface Go or similsr exists... ..enter Razr!

Bouncing off every step probably shook the fungus loose

Used the Nikon 50mm 1.8 pancake version. This is the non E version multi coated. I am really happy with it, quite sharp wide open. Also used the Tokina 17mm 3.4, which I also really love. Its super wide but doesn't look funky at least not to me. The one I got ended up being in really good shape(super surprised). I also dropped the 50mm down a wooden staircase right after I unwrapped it from the package lol. Seems to be fine though. The seller said it had fungus on the rear element, tho I can't see any signs of it. On another note I've never shot with Fuji monochrome, its really beautiful.

@MeanRevert Yes, you can use the command line I gave in the original post to convert from H.265 to ProRes 422. ffmpeg -i Reference.mov -c:v prores_ks -profile:v 2 ProRes.mov "Reference.mov" is the original file, and "ProRes.mov" is the new file you will be creating. Change the 2 after profile:v to a 3 if you want ProRes 422 HQ (or 1 for LT, or 0 for Proxy). If you are transcoding an entire project, you will want some way to batch the files. If you have an HEVC hardware decoder (many modern GPUs and CPUs have hardware decoders now), you can use cuvid to speed up the decoding process. Keep in mind that ProRes 422 will probably lose some quality, though really unnoticeable in ordinary viewing. To me, 422 HQ was visually lossless compared to H.265, even under scrutiny.

I get the feeling lol. I'd not buy a speedbooster for a single lens(well probably not).

Here's a quickie. A BT.2020-Rec.709 conversion, a curve to highlight the person, some vignette to darken everything else, Kodak 2383 D55 on 40%, slightly boosted saturation and desaturated shadows.

The TechArt E-mount adapter with a speed booster (as suggested by @BTM_Pix) is one way to go. Or you could simply go FF-to-FF and just use the Kipon MD-to-NZ adapter. Which MF Minolta lenses do you have?

Do you have a picture of your rig with the Ninja V? Without first hand knowledge, it seems if you’re going to go with the added size and cost of a Ninja V on the X-T3, you may as well just get a P4K.

Depending on your system, and how you edit, it can actual save time. If you're grading for example, you'll need to render less and still have much smoother playback. And then exports are likely to be quicker too. You can do the transcoding over night, so you don't even lose that time in the first place.

Interesting, I just read Tito’s Anamorphic on a budget guide and I found the topic pretty intriguing. Once I narrow down my regular lenses, I am thinking of picking up one of those Century 1.33x adapters if I can find one at a decent price. I love 2:35 so to easily have that from 16:9 in ML sounds pretty appealing. I’d love an Isco 54 but that would break my bank. I enjoy the hunt but yeah it can get tiresome. I’ve only lost money on the cheap stuff I bought when I first started messing with vintage lenses. I still have a lot of Nikkor lenses on a saved search just to see if I can find a deal. I don’t want anymore Nikkors but they are quick sellers if you get them for a good price.

I'd rather not, haha. ? I'm becoming a little tired of constant buying / selling camera gear, even though I manage not to lose any money in the process.

TechArt's E mount adapter for the Z will open up a lot of new possibilities. Including using the existing MD to E mount speed boosters.

Have you read the Rokkor Survival Guide on REDuser? Give that thread a read and you will be trading in your lenses for their Minolta equivalents... http://www.reduser.net/forum/showthread.php?92246-Minolta-Rokkor-Survival-Guide Oh I hear you. I went with the Rollei Zeiss because I wanted to be different than everybody else with their Contax Zeiss. It’s been pretty painless but a lot easier when my Leitax mounts arrive. And in the end, for a fraction of the cost of Contax Zeiss or Zeiss Classics, I have a nice 3 lens, single-coated set of Made in Germany Carl Zeiss lenses.

Can't disagree with you there. However, I can't justify buying a speed booster meant only for one particular lens. I know, haha. It's just the way I am, always going against the grain. Being closer to the anamorphic block is important, but so is focal length (if not more). It's more like a hit and miss method, really. No one can guarantee that a specific combo will work, unless you test it. So do I, so do I..

We'll see.. I made myself a promise that after migrating to M4/3 from Sony's FF, I won't let gear obsess my mind any more and I'll try to keep things simple. 3 / 4 lenses, one cheap speedbooster and that's it, nothing more. Overall, it's just a hobby. So far, I didn't break the promise, so, please, don't tempt me! ? It is! IBIS works wonders. Using 4:3 4K Photo Mode to record anamorphic video is great. It has its limitations (only 30fps, no way to change it to 24, so I just slow it down in post; no CineD; and no HDMI output), but it doesn't bother me that much. And it cost me 1/3 of what GH5 would.

Slider and motion control will definitely give more precise movements. Its hard to get super smooth and precise gimbal movements. If you do use a gimbal I'd recommend using it with a lens wider than 23mm (APSC) and with IS. Shooting in 60fps and slowing down in post can also help a lot. A gimbal setup is certainly faster. But eliminating the human element and knowing your shots are going to be 100% on the money everytime may be more efficient in the long run.

There is. The Russians didn't just hang around drinking vodka during the Cold War http://www.reduser.net/forum/showthread.php?152436-Russian-Soviet-USSR-Lens-Survival-Guide and here are some samples from the set: https://photos.google.com/share/AF1QipNtAbAeqHYSKyOnPbE-3AuIxzmeVFZCbWCspWF1jCuvHBihhbHbMULc5rMa1xtdBA?key=YWd5QW1tYm5OOERoeHpBSHg1TlJiUEptOGVKSmNB

Yep, The Rollei QBM Zeiss lenses are top quality & it seems vintage lenses go through phases - people forget or don't know. The good thing is that prices go up & down too! Here's 2 very good resources for anyone thinking of buying Nikon/Nikkor lenses: Lens Evaluations - spot on & identify the differences perfectly: http://www.naturfotograf.com/lens_surv.html#rating Serial Numbers & dates made (makes identifying what you are buying a lot easier): http://www.photosynthesis.co.nz/nikon/serialno.html#35

I’m just about to invest in the 10-24 f4 for video myself. I had a Sigma 10-20 f3.5 for my aps-c Canon 70D, and it let in enough light to get acceptably clean video indoors, where I really needed the ultra wide angle. I wonder how you’re using your 10-24 and whether you’re happy with it on the X-T3?

It costs more but the nicest fast lens I have had in the 50-60mm range was the FD 50 1.2 L which is different to almost all those fast lenses in having a hand ground aspheric element (the ultra expensive Noct Nikkor did as well). That could be converted I think.

Prob students. Using an Eos R at pro sporting event sounds like a nightmare.

I had to read your post about three times because I have been having exactly the same thought and my brain was assuming that I'd written the above statement and you were somehow quoting me! In fact, the whole big lens shootout I just did was to get a 70-80mm equivalent lens on my GH5. I'd mostly gone a different way and was trying 35-40mm lenses without a SB, but one of my goals was low light performance and the 50-60+SB combination gives an extra stop of light without narrowing the DoF which is useful. In the end I went with the Konica 40mm f1.8 because it was fast, had good contrast and had very little distortion around the edges of the frame when wide open. I prefer it to the Helios+SB combination even though that is one stop brighter because the Helios has such soft/smeared edges wide open, and the SB makes it worse (because the Helios is sharp in the middle but gets worse towards the outer edges). To go brighter again would require the 50/1.4+SB combination you're chasing, and that combo would match the brightness of my 17.5mm f0.95 main lens which would be great. There are a ton of fast 50mm lenses. I don't know if you saw this link I posted earlier to a big 50mm comparison? http://hispan.hu/50mm-lens-test/ It's in Hungarian, but the pictures pretty much speak for themselves and it's a very comprehensive test. It's interesting you didn't like the revuenon, as that was one of the better performers in that test, especially at edge sharpness, although I didn't care for the "bubble" bokeh as I think it's too distracting for use except as a kind of special effects lens, or unless you can carefully control the background and eliminate any specular highlights or sharp edges. Good luck on your quest, your problem is the sheer number of options, which takes work but at least you will end up with something good at the end. There are worse problems to have! Keep us updated Interesting. I did wonder about that. IIRC you didn't used to be able to, so maybe they changed it. That's really cool.

At first I totally disregarded the E-M1X... now I feel it fills a VERY VERY special niche for video. YouTubers who can afford it. Did a quick collab with Sara Dietschy comparing it to the GH5. Check it out!

I disagree with this on many levels. If you need to make money right now, then yeah, do something that people will pay for, whether its a computer programming job or making coffee for other filmmakers. But if filmmaking is something you enjoy, then do it. You aren't born with talent, you develop it with hard work and experience. Which is exactly what Zach is asking for: how to get experience without access to like-minded people. That is a fantastic reason to make films. When automation and AI make human labor obsolete, people whose sense of self-worth is tied to fulfilling an economic need will find their life has no meaning. (getting off on a tangent, but the point is you should pursue things that you enjoy, regardless of their relevance to other people).

You all I have to focus on my college homework this weekend, but maybe next weekend when I have spring break I'll make the short films okay. I am not so sure how to answer this? I just want to make films to make films to entertain myself.

I went a different direction. Three nodes, one for CST and a bunch of curves, and then a second one with a power window on his face for a slight gamma boost. Last node is for noise reduction.

@heart0less and @Bioskop.Inc that is a great resource. I have a set of Rollei QBM Carl Zeiss lenses and that site informed me that the 50mm 1.8 can hit the mirror... so I am reticent about not having the lens at infinity when I turn on or off the camera and I haven’t had any issues. Btw, those lenses are incredible for forgotten lenses. I’ve even purchased a Leitax adapter to test out. If it works well, I’ll definitely modify the rest. Here’s a wide open sample with a B+W Vario ND from the 50mm...

I'll second the Yashica ML lenses - here's a good resource: https://cargocollective.com/yashica/About-Yashica-ML-Prime-Lenses Here's a list of M42 that hit or don't hit a 5D - Takumar 50mm f1.4 or the 55mm f1.8 (beware both have razor thin DoF wide open, but are sharp) https://www.panoramaplanet.de/comp/

Didn't know that, big thanks! That's a shame. Regarding hitting the mirror, I really recommend this site: https://www.panoramaplanet.de/comp/ Quite difficult to get by in Poland, not sure why.

DPR test of the RP.

hey @Aquilasfx what about the https://www.bhphotovideo.com/c/product/1432631-REG/aputure_lsc120diivkit_ls_c120d_ii_led.html ?? you can match with one of their domes (https://www.bhphotovideo.com/c/product/1426992-REG/aputure_minidome_ii_light_dome_mini_ii.html) and have a very convenient and modern led. I believe I will go that route for a couple of those. It seems that the first Chinese versions of anything is just an "experimental" release, but they made most things right in the second try. The Ver.1 of both those products were kind of hit and miss.

Looks good! I had a similar goal, since I also prefer the organic, filmic feel to the image. Before: After: (My God, these stills weigh almost 24MB each..) And a quick look at my node tree: Almost all of the 'effects' are the result of ongoing discussions / experiences shared in other threads. It may seem like a time-consuming grade, but the whole node structure is saved as a still, which I just apply on every clip and then tweak a little depending on the footage. It doesn't take more than 5 minutes to grade each clip.

I totally agree - just make stuff. I am only aware of two ways to really succeed. Get absolutely great at it or get to know a bunch of people and be great to work with. Considering you're not physically around other people the second one is more challenging, but can still be done (youtibers collab all the time without meeting each other). In terms of the first one, getting great, you have to find your inner voice. The shortcut to doing this is to make lots and lots and lots of films. I know that's not a shortcut (ha ha) but the real shortcut is that they don't have to be long, they only have to be long enough. The person who makes a one minute film every week will learn truck-loads more than the person that makes a 52 minute film each year. I'm assuming you're young (because of college and no car) so assuming that's the case you'll also still be trying to figure out who you are. I'm over 40 and I figured out who I thought I was, but am now trying to get rid of some of those ideas, so I'm still at it. Finding yourself and your voice just takes work, but the upside is that it only takes work. If you make 100 short films then it's almost impossible not to learn a lot about yourself. Another shortcut is to try things that make you uncomfortable and you've never tried. Film yourself, make a musical, make a historical reenactment, make a documentary, make a mockumentary, make a fake news report, make a stop-go animation, make a film with planning and no editing, make a film with no planning and only editing, make a silent film, make a film with no music, make a film with only music, make a B&W film, make a film in hyper colour, make a film about a colour, make a film about someone you know, make a film about someone you don't know, make a film about you trying to make a film and failing, make a film about you making a film and succeeding, make a tutorial, make an abstract film about a lost sock, make a film about what it's like to be you, make a film about who you would have been if you had been someone else, make films for other people, make a film that you will never show to anyone else and have a premier with only you and then delete it afterwards, make a film for money, make a film about the people you care about and give it to them as a gift........... Learning is accidentally doing things that are great often enough to work out how to do them on purpose.

Sure, you can have a environment where the players are all human and just let things happen. That's fine and fun, but it's not really storytelling. It's like playing with virtual action figures. Whatever narrative that arises could be exhilarating, but it's organic not artistically authored. Controlled fiction is an incredible art form.

as Turboguard said I'm still struggled with colour a whole video correctly. Before this camera my workflow is pretty much slap on a decent lut => tweaked a few thing and deliver. My goal this year is to try to up my colour skill. This is a video that I did while strolling the street of Melbourne. The sound is actually the on board mic since I din't expect such a performance

I'm enamored with the idea of story telling in a virtual world. Eventually, somehow, story designers will need to find a way to incorporate effective AI that steers the narrative in the direction they want while maintaining the illusion of free will in whatever sandbox environment they've created. It's a difficult problem of math, as any random decision needs to motivate a seemingly random reaction and those threads of possibility reach levels near infinite pretty quickly. Manufacturing chance to lead into a predetermined outcome is some existential stuff.

I'm more into these little guy

The C100 still produces great looking images, both in it's own merits as well as compared to newer gear. Very tempted by the used prices these days. What keeps me away is that my R also has a really nice C-log image but FF with stabilization and soon built in variable ND. Would love to have the XPRs though.