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If its any consolation I spent £250 on a Dualit toaster about 10 years ago. I gifted it to my daughter along with a bunch of other kitchen appliances when she moved in to her new apartment last year. I asked a few weeks later how she was getting on with this iconic bread heating masterpiece only to discover she had thrown it out because "it looked old fashioned". This keen appreciation of design classics also means she refers to my Billingham Hadley Pro bag as a satchel. I blame her mother.

If you are ok with a green tint on your toast, I can loan you my Sony a5100. Great affordable toaster.

I'm not a skater and haven't really seen many skate films, but pretty interesting to see some of the history and the impact the VX1000 had. One talented skate filmer/photographer I have come across who takes some great stills that appeal to non-skaters as well is Fred Mortagne 'French Fred' www.frenchfred.com

I did some VR development a few years ago when I had access to a university Oculus. It was a ton of fun. Even simple things like mapping a 360 video so you can freely look around is amazing, let alone playing VR games with the handset and everything. I guess what I love in games is where the game never forces you to use a certain item to defeat the monster, thereby encouraging creativity to overcome tasks. You could get that specific item, or you could find a way to bypass the monster altogether--but then that same monster may come up later in the game. That's where cinematic techniques like color come in. The developer may use color to psychologically influence a player to make a decision, which makes it much more rewarding to find a different way to accomplish the task. For a great use of color in a game, think of Mirror's Edge, where objects you interact with are bright red and yellow against a mostly white world. It's makes it much easier to identify things you can climb without stopping and breaking your momentum. Films can use color in a similar way, to draw attenion to certain objects, but the fact that attention is drawn to an object actually changes how a game is played and, in some cases, the actual plot of the game, whereas a movie still exists on a linear timeline no matter where you look.

Well, here we are then. The 3C app is now officially available from the Play store for Android devices. 3C enables you to remotely control and monitor the primary functions of your Blackmagic Design Pocket Cinema Camera 4K from an Android device using Bluetooth LE. Using 3C, you have access to the following camera functionality. Aperture ISO Shutter Angle White Balance Record Focus & Zoom (with compatible lenses) With 3C you can also store your own custom setting sets for exposure, focus and zoom parameters for later recall as well as automate transitions between stored focus points*. For ease of use, 3C uses a single screen touch interface to control all of this functionality and avoid the need for you to have to activate any sub-menus to change settings. 3C has a scalable user interface to enable you to remove focus and zoom controls from the screen should you not require them and wish to run the app on a small screen Android device. In addition, 3C can also be used as an interface hub to enable control of the camera from compatible Bluetooth gamepads. You can purchase 3C from the Play store here http://tinyurl.com/y5eyujeu You can read the PDF user guide here User Guide For 3C v1.1 by CDA-TEK Ltd .pdf You can use gamepads from iPega and 8Bitdo that support keyboard mode and examples of these are https://www.amazon.co.uk/dp/B00KA6OR7Q (iPega) and https://www.amazon.co.uk/dp/B017PAX036 (8Bitdo). 3C will also support wireless live viewing from the camera in a future update with additional hardware.

Version 1.2 will be released on Wednesday and includes a new mode for supporting for the Blackberry Key1/2 phones. It might seem a quirky device to support but the combination of touch screen and physical keyboard is actually very nice in terms of controlling the camera. Aside from being able to control the functions from the screen, the functions are also mapped to the physical keys on the phone and the rubber backing of the phone makes it more comfortable to hold. When running 3C on the Key1/2 it defaults to portrait mode to make for more ergonomic one hand operation and/or narrower profile for mounting on a rig or gimbal handle.

Yes, French Fred is highly regarded in skateboarding and is credited with inventing the "skate-by zoom-in shot", which he did on the VX1 coincidentally. I think there was a tour video where he was actually repairing a VX1 on his own. His work obviously left a mark outside of skateboarding, since Leica choose him to do a video for the release of Leica SL: The other such a luck guy was a former PRO skateboarder turned photographer, Arto Saari (shoots with Leica S3):

i couldnt live without the internet for any amount of money, id rather die. i talk about how great the 90s were, before 9/11, etc etc, but im full of it. contemporary internet is freakin fantastic on one hand, its the absolute key to my dream life, where i could spend the time needed on sets, in LA, but NOT LIVE THERE ANYMORE!!! im over it!! but i wanna be able to communicate with ppl v well, and just today, with my broken imac, i sent a friend a drive link to my film from my phone, he downloaded that 7 gig file, and watched it on his 4k tv, all in a matter of minutes. unreal! i grew up in an age where ppl MAILED FILM. OVERNIGHT. EXPRESS. CAN OF FILM IN THA MAIL. additionally, internet allows an introvert on a mountain, like myself, to talk to the whole world~! and thats how i found u guys, and i find ppl irl who become my filmmaking friends all the time ??? and theres free p*rn, not for @BTM_Pix tho

That is why the toast has perfect color.

Cool. No, I haven't tried it. TBH I'm not really a gamer. This might seem strange for me to be looking at programming, but my ideas come from a place a bit different to how things are traditionally done. I've previously written complete 3D engines from scratch and so when I first contemplated getting into this I was essentially looking for a 3D VR polygon engine that I could just program, whereas these things are more like using the Doom level editor than actually coding something, which is kind of promising I think because that's not at all what I'm thinking of, so in a sense I'm likely to get different results and stand out from the crowd. Awesome, that's cool to hear. My first idea was more as a VR experience to generate the entire 3D environment using fractal mathematics, recursive algorithms and other techniques to generate alternative spaces that aren't designed to look like the real world. It seems silly to me to take computing power that can basically render whatever you want and then use it to just try and copy the real world. Anyway, once I've worked out how it works I'll probably just be creating and moving objects around with code and not really using the editor at all. I just have to work through their examples.. first step is to work out why their 3D game kit gets compiler errors. and when I say first step, I have to work out where I see those errors, then what they mean, then how to fix them

I have a a7iii + ninja V as my main video camera setup (and a a7rii for photo ) i got the a7rii when I still had my blackmagic ursa mini 4.6k . the a7rii in slog 2 had a bit more DR thank the ursa mini in pro res , so I sold the ursa ( mostly because of the form factor and the video autofocus) The a7iii is a killer camera , I shoot HLG with it because I found Slog 2 to be unusable ( too much chroma noise , even externally) , but in resolve I do a color space transform back to slog3 and use the Venice rec 709 Lut , so you get great colors. Dynamic range is really not an issue anymore on modern camera , I don t believe that the Alexa is that much better anymore , but it still have a nicer roll off in the highlights when it clip . The roll off is more important than the dynamics range at that point , also realistically Film only have 11 stop , so it s hard to blame mordern cameras over analog for DR.

BUT I WAS FOLLOWING THE DIRECTIONS ?????? @kye it has prores 444

Nice Panasonic, will there be one without that Leica Sticker?

Welcome to the free peer-to-peer colour grading course! ??? The idea is that we all have things to learn from each other, so we all grade the same clip and then you explain what you did if someone is interested in your grade. These are the rules: No criticism. NO CRITICISM!! Seriously. If someone asks for constructive feedback then sure, give a few helpful pointers (and not an essay), but this thread is about learning from each others strengths, not pointing out each others weaknesses. We are here because we are not professional colourists, and some of us only do this for fun and aren't pros, so give us a break. If we criticise then no one will grade, and... If no-one grades, no-one learns anything. You don't have to grade to participate, but please do if you are able to. You can post multiple grades if you want. Try different looks, see what works and what other people might like. Grading is subjective. Anyone is free to post a clip/still to grade, BUT, You must post two grades of other clips before you post your clip for grading. Otherwise we'll have a thread full of clips and no grades. See rule #2. If you post a clip, please include what colour/gamma profile it was shot in. This helps to transform the colour space. Please post the file SOOC if possible (if it's not too large a file size) or at least a completely ungraded unprocessed clip from that file. Be sure to maintain bit-depth and resolution. Please post relatively nice clips, not ones that are impossible. Try to remember that we're trying to learn colour grading, not show off our troubleshooting skills. Don't be an asshole. Seriously, just play nice and get along I am serious about Rule #1. Posting your creative work is an act of courage - criticising others is an act of cowardice. If you are an asshole I will call you out, and I will not be polite about it. All that said, here's clip number one. Have at it! https://www.sugarsync.com/pf/D8480669_08693060_6029821 Clip shot with GH5 in 150Mbps 4K HLG, shot with sharpening turned all the way down. I have reason to believe that the HLG on the GH5 is neither rec.2100 nor rec.2020, but rec2100 is probably good enough to get a decent grade. I shoot auto-WB so it probably needs adjusting, and there's a bit of noise too, but it's not too far gone - I shoot in way worse conditions than this. The clip is from a tour of a traditional village temple in Nha Trang Vietnam.

So in terms of hybrid cameras - and including the BMPCC4K even though it isn't a hybrid camera - is the a7 III still tops when it comes to dynamic range? Purely dynamic range. Not colors, not ergonomics, not soul, not flame-proof-ness. Just DR. I've read Sony a7 III with slog 2 has close to 14 stops of DR. Is the BMPCC4K able to compete / beat it when shooting in RAW? (New BMRAW firmware was just released, BTW). Will Z6 beat it once it gets ability to shoot in RAW via hdmi out? (I am reluctant to spend $1,000 getting a recorder, battery and SSD card for it). What's the DR of the Panasonic S1 cameras like? Another site said that it had 12.2 stops when shooting HLG at ISO 400. I think V Log is a paid firmware update coming down the road, right? (Hopefully it won't be dependent upon the US Postal Service for delivery). ALSO: I thought someone on this forum posted a few months back that the 8-bit codec of the a7 III actually helped increase dynamic range when compared to 10-bit codecs. Was I dreaming? Was I on drugs? Was my mind being controlled by @mercer cat??? (P.S. I know that Sony cameras - much like my wardrobe choices - have many serious flaws. No need to comment on either of those things here.)

I like this one better. Colors seem more true-to-life, yet still you managed to keep the grade contrasty and cool.

The upcoming Zeiss ZX1 will be its main competitor imo but yeah a 35mm summicron/summilux would have been a slam dunk for me too. That said the 28mm actually makes a lot of sense if you consider the resolution and crop modes. Essentially giving you a 28-75mm focal range. I also love how the crop modes gives you frame overlays (like on classic M series) and not actual crop like all other cameras do it. Perfect for 'see the subject before he enters the frame' type street photography. As for video, again it's a nice bonus. I actually like the DCI 4K IQ I'm seeing from the following review (3:20) and the 120fps FHD seems pretty sharp & clear of artefacts too: Manual focusing for video should be a treat as well considering it's no fly by wire focusing like let's say on Fujis / Nikon Z etc.. so extra credit there too!

Another factor is, everyone will have the reference NLE; that really appeals to me. Its hard to beat that luma curve + hue lock out workflow.

Thanks Especially for someone as lazy as I am. My projects really need to go on Kickupthearsestarter

@BTM_Pix Belated congratulations on getting this app launched and out the door!! A lot easier said than done with technical projects like this!

I normally find that if you can run a short test to answer a question then that's normally the best way to do it. I have a GH5 and I'd run the test for you, but you should just do the test yourself and that way you get to choose the right scenario and look at the footage without internet compression Edit: quoted the wrong message first time around. fixed now

Nope

An S1R + Sigma 28mm F1.4 will run you the same price. A Nikon Z7 + FTZ + 28mm F1.4 will cost you a grand extra.. and won’t be nearly as compact Apple & oranges I know when it comes to functionality but those 3 cameras all pretty much share the same sensor so in that regard the Q2 isn’t really that expensive. M series yeah you may have a point with the RR/Bentley reference

I have a cunning plan for a new app that might just have some utility in this area

This one - IceCam Tiny 3 Vision - looks interesting because it is light (only 840g, holds up to 2.5kg). It comes from Italy and perhaps some EosHD forum member from there could ask the IceCam company if it works with BMPCC 4K.

well its arrived ? the whole box feels light, however after opening and holding it in one hand and my canon 60d in the other. they kinda feel the same weight, terribly scientific i know. it comes with 6.1 update installed, there's two cards one with full resolve on it the other has software and manual on it but yet to look at it. i did install resolve already no issues and unlike the free resolve it opens gopro4 footage no problems. yet to try the 6 as i think its.265. the battery was fully charged but its dark now, may try to film the kitten shortly and see how that goes. any questions i'd like to answer if i can. it may not show but i'm very excited

I had a similar experience with Panasonic India who were unable to repair a camera (GX85). Panasonic Australia were confident they could repair it, and they apparently did (or attempted to hoodwink me), sending the camera with the same problem back and making it worse. So basically because I bought a camera in Australia, and moved to India, and so I was stuck with a camera that couldnt be repaired (the camera had some issues with the sensor within the first few weeks itself, which apparently eas a common problem with the GX85 cameras). Finally Diamond Cameras (in their generosity) sent me a Replacement Unit because Panasonic were SO INCOMPETENT, that they couldn't repair their OWN camera across 2 different countries/ continents. Panasonic is a little like Ford Motors in that way. Their after sales can be pretty crappy. They have some great products (I find their air conditions to be in Daikin territory). But after this experience I am not too sure I would buy Panasonic products. Even if they gave them to me for free. Or maybe I would sell them if I got them free, and let someone else curse them ?

It's closer than you'd think. I've compared the Alexa and the A7S. If you properly expose an A7S at 3200 ISO in SLOG 2 (base ISO on the A7S; haven't used the A7III, but I suspect it's similar) and expose the same scene at 800 ISO on an Alexa (its base ISO, so open up two stops), the Alexa should have 1.4-1.8 more stops of highlight detail. I believe the Alexa has an over of +7.4 at base ISO or +7.8 maybe depending on what model it is (original vs Mini or Amira or something, or maybe it depends on firmware but Arri quotes different numbers) and the A7S I think has an over of +6 at base ISO (3200 ISO) in SLOG 2. Not 100% sure of this but it's what I found online and it correlates with what I've seen pretty well. On the other hand, I think SLOG 3 looks better than SLOG 2 because its base ISO is pulled to 1600 (or something, I'm not as technical as I used to be), and as a result it clips one stop sooner but looks cleaner. If you expose the A7S at 3200 ISO with an incident meter the image will look super underexposed, and that's how it gets that excellent highlight detail. Not sure about HLG, but I suspect it clips sooner, too, and has better tonality. The best image I've seen out of the A7S was SLOG 2 pulled two stops on a Q7+ external recorder, so it had +4 but was incredibly clean. Regardless, even +4 is good for mirrorless. +6 is good for a cinema camera. +7.8 is ridiculous. I don't like SLOG 2 at all, and I don't like how it clips aesthetically (especially how colors clip), but it does offer good highlight detail. I'm excited for the A7S III and would love to rent one and shoot in zero light with one of those f0.95 lenses. I just hope they address skew and how colors clip and offer a 10 bit option, that would be an amazing camera. Disclaimer: this stuff is changing so fast I'm sure I'm getting details wrong and am in over my head. But the A7 cameras, exposed properly at base ISO in SLOG 2, have very good highlight detail... but they look better overexposed IMO so maybe it's irrelevant. Regardless, the Alexa is still in a whole different league, but you also can't carry one around with you easily.

Thank goodness for that!

If it doesn't cook in 10-bit then you should replace it with one that does.

I've just started with Unity. I read a bunch of comparisons and they seemed to think that Unity was better for smaller studios and for doing mobile, so I'll see how I go. In a sense I'm not the typical user because I know how to code and I don't want to use it for what it's designed for, so I guess we'll see. I've learned so many programming languages over the years that it's not that hard to pick things up, although these things are very far removed from programming, so I guess I'll see how I go. I suspect that I'll likely abandon the game interface and end up coding most things, as my goal is more around algorithmically rendered environments rather than typical 3D apps or games.

Possibly relevant links: Complaint that Panasonic requires customer to pay repair shipping; Lower heating element replacement; Comment on how to replace lower heating element.

Yeah i've got no illusions about the Q not being in M series category (and part of me still really wants a real M rangefinder) but the body is made in germany. it's not a rebranded panasonic. The specs are pretty cool.. the Q2 now has the highest resolution in a Leica ever and the clever crop modes (35mm, 50mm & now 75mm) make even more sense. Closest thing to a medium format Leica imo. I've been playing with some DNG samples and I gotta say I'm quite surprised by the DR/recovery. Base ISO of 50 is also pretty damn sweet. DCI4K video is the cherry on top.. not the main attraction of course.. more of a bonus really. But it'll be interesting to see the IQ.. I just might pull the trigger on this one (not been this excited about a Leica in a while). I just need to stay away from the M series when visiting the store..

It doesn't but I'm curious enough to ask whether you currently use an ios/android app like Movie Slate ? I'm sure you know where my curiosity may lie for whether this might be something that people would use if it incorporated the camera data

This video was filmed with the PK4 in cDNG, and a Mavic Pro Drone. To me the gap had changed so much to me at least it is hard to tell the difference between the PK4 and the Drone. And this is a pretty damn good video. I like the look of it. And I am not knocking the PK4. 4K is pretty much 4K no matter the camera if you are good at editing, Grading, Sure there is a difference between the PK4 and the Drone. But it is not huge anymore like it use to be. Good for everyone.

I could probably give up the internet for a million dollars. I could get someone else to manage social media for business.

The difference in noise is there...if you look closely and more obvious in 12:1 and 8:1 Been doing a bit of testing at all codecs in detailed scenes - doing people today. Bottom line so far: As far as actual deliverables for broadcast and web and any practical distribution - the final compression for delivery will negate any differences from Q0 to ProRes HQ. Frank Glencairn just did a great article on just that. BM has done such a good jog implimenting ProRes in the new P4k that it's remarkably (indistinguishably) similar to the new highest Braw flavor - Q0. The in camera debayering is handled similarly and it shows. Aside from the larger file size, we're sticking with our ProRes HQ to FCPX work stations for simplicity with no IQ compromise. It's all good no matter which approach you choose. No end viewer will ever see the difference on screen.

Here's my grade.

OK.. seems like it's somewhat sensitive thing.. To get back into perspective, what usually matters to cinematographers is the picture they get. And in this particular case I just wanted to say that none of 8 bit cameras I tested looked good enough with their log picture. While Nikon Z6 and Fuji X-T3 look really good. But this is subjective guys, I'm looking at the picture, testing where it breaks, evaluating this for myself, and only then looking at what numbers/bits it has. Let's not start a war over it. In normal conditions with careful exposing one can make any of these 8 bit camera look just great, no questions.

I don't know about the A7iii but my A7sii could not touch the DR of the 13stop BMCC, D750 or even the 12stop XC10 and 5Dmkiii raw. So I doubt the A7iii could match a BMPC4K. At least I haven't seen any footage that points to it being able to. Would love it if it could. Maybe then I could justify it's imo to high price.

Have you tested it? In my testing experience none of these small cameras come closed to 14 stops. None. Even more so with Sony A7III 8bit output. It's just impossible to have 14 stops in that. 10bit log is said to carry up to 12 stops (11.5 according to cinematography.net), so... But whatever helps people feel more confidence in their tools. It's the final outcome that matters, after all.

I agree. Having the tech just work and get out of the way is the ultimate situation. We're making art after all, the last thing we need is to be trying to also deal with the technical stuff at the same time. I really think that BM are playing the long game and have set their vision to be really high and are making bold steps to get there. Some fun facts (via wikipedia? DaVinci had been making colour correction systems since 1985 Resolve was released in 2004 BM bought DaVinci in 2009, at which time Resolve was selling with dedicated hardware solutions for $200k-800k 2010 they released a software-only version for $995 and the hardware version dropped to $30k 2011 they introduced a free version 2013 version 10 introduced video editing 2014 version 11 introduced audio mixing to complete it as a stand-alone NLE 2016 BM buys Fairlight and version 14 includes an integrated version of it 2018 version 15 includes a version of Fusion That is a pretty spectacular timeline. In a decade it went from being $200-800K with hardware and colour only to having free, software-only versions available, and integrating world-leading colour with editing, audio, and VFX functionality. Hardware is obviously more difficult to make those kinds of advances on, but the original BMPCC and now P4K kind of fit that description. I remember Elon Musk talking about reducing the cost of things by 90% and that idea of radical change seems to also be occurring here. Other vendors don't seem to really be dancing to the same tune.

The man seems to be on something of a mission at the moment to sow the seeds of the destruction of his YouTube channel and therefore business. (Afghan Girl saga). Muppetry.

Thanks for the thread : ) We've been discussing the topic this afternoon: I guess the achievement is well worthy hence the new discussion corner for.

Oops fixed!!

With this style, I felt that the montage with the falling piano motif would be ideally paired with slow motion shots interspersed - the same rotating shots of the characters, but in slow motion, the directional motion of each shot feeding into, and informing the next. Second, for the Adr/dialog at the end, it would be optimal to record in a similar environment to the one shown for the correct reverb (space). Key is placement of the mic relative to the mouth - not too close, but not too far. That is, to have a sense of the reverb tail, without over powering the voice with reverb, or the 'deadness' of right in front of the mouth. For the existing dialog, one could maximize realism by EQing out a bit of bass (~120Hz region & below) and adding a slight reverb tail to add 'space' to the sound (testing reverb settings until it feels fitting for the space on screen)

here's my take at it, please be gentle

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.

Shot this video using GHaV3 Lut on GH5s. Followed the guides in the documentations, just drop the LUT in the timeline and tweak the mid-tones, shadow and highlights as suggested. I'm loving the colors!

The golden age of cinema was truly something to be admired. Here are the TOP SECRET insider settings that will MAGICALLY turn your camera into a CINEMA BEAST. PROFESSIONAL CINEMATOGRAPHERS DO NOT WANT YOU TO KNOW THIS We all know that you can't get cinematic video straight out of a camera, so most of these are in post. Camera: Shoot in NATURAL or the default style (LOG profiles are a trick to fool the try-hards) Set your aperture to F8 (that's why the most famous photographers say "f8 and be there") Film had a wonderfully organic resolution, so It's important to get the highest resolution camera you can - shoot 8K RAW if you can, 10-bit is barely a minimum, but 12-bit or 14-bit is better Depending on the aesthetic you want you can film at 23.976 fps, or less. Ideally you would film at a rate that varies to simulate the camera operator turning a handle, but even the most expensive cinema cameras still lack this feature, even in 2019, it's madness but it's reality Post-production: Set your Saturation to zero Lower your contrast until the whites aren't white, and the blacks aren't black, you want that soft look Highlight all your audio tracks and delete them, if you want you can add a single track back in and put in a single piano soundtrack, but silent is the most 'pure' Whatever frame rate you recorded at, you must play it back at 23.976 fps - this will give that classic "people walking as fast as ants" look Add noise, film grain plugins that have real digitised film grain are best - DO NOT GO CHEAP ON THIS When you output your footage it's important to get the settings right - the most important is to output in 1080 as a MAX (4K is totally out) Yes, I'm taking the piss, but actually if you want to replicate the silent film era then these are good instructions. My point is that there is no 'cinematic' look, so the only place that you can be sure of that won't help you is anyone using the word "cinematic". Seriously, cinema looks so great because it's a combination of every department doing their job really well. We've been making movies for long enough to work out what matters and what doesn't, and anything that doesn't matter has been cut from the budget of film-making since before any of us were born. What you really want is to make great looking films, which is really a personal thing that only you can find out what it means to you, and the only way to do that is to learn every job in every department of a film production and do them all really well. Film-making is art that uses enormous amounts of technology - that's why is SO DIFFICULT IT'S NEARLY IMPOSSIBLE. Welcome to our pain, and our pleasure.