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I'm planning on making a proper go at this today, but totally dependant on a nap - 3 hours might prove a stretch, but we'll see. Until I can post that though, here's something I made a few weeks ago to test a Resolve workflow. Similarly to @xzobinx, it's spoken word and people watching, although mine is a lot more pretentious.

Since I have the ringleader's permission

Dang... hmm... between my most recent 50mm tests and these Samyang tests, I am second guessing everything that is just and pure in the world. Btw, nice Oly sample... I really like your color. Teach me. Lol. Speaking of my 50mm tests. Here is yet another sample from my Zeiss Rollei 50mm shot wide open... And for good measure, here’s a B&W frame grab from the Zeiss 25mm 2.8... To add... @BTM_Pix thanks a lot for the Samyang tests. I think I may try and pick up an 85mm. I’m curious how it will hold up against my Nikkor aI-s 85mm 1.4. I started these “tests” to try and whittle down my lens collection but I think I’ve ended up with more questions than answers. For instance, I’m beginning to think that Zeiss are the best lenses ever made for a seasoned photographer/filmmaker because it isn’t easy to find their sweet spot, but when you do... it smacks you in the face. With that being said, I think I’ve only found that spot once or twice and the above samples aren’t it. But they’re alright, so I figured I’d share them.

Ok, here's my first effort. Filmed on a iPhone, audio recorded on iPhone headphones supplied with iPhone, editing, voice-over and grading done in Resolve. I've never done a voice-over before, so a big chunk of my time was spent figuring out how to do it, and then trying to work out how to make Resolve do it, including reading tutorials etc. I even came up with the idea for it in the three hour window, so that's cool too. ah crap. Just realised mine is way longer than 1 minute! oh well.

Another cheap and cheerful second hand MFT lens, this time the Olympus 45mm f1.8 on the Blackmagic Pocket 4K This grab is from an HD ProRes LT recording as I was running out of card space when I was out today !

Here are the screenshots of it in action today in a city centre. First scan shows everyone's Fitbits etc as well as the camera. You now click on Search List and enter the filter term you want (I chose "Camera") And then it filters all of the other devices out. You could choose "4K" or whatever but I decided against a default in case people have renamed their cameras.

After testing for a couple of days, we're Q5 all the time. Shot a film with it last week and yes, in the new Resolve, it is as fast - even faster than ProRes w/ FCPX. I was in the field w/ a MP skimming through a twenty minute timeline, every clip w/ a LUT and a grade. It's amazingly fast. So much so that as a small shop w/ 3 FCPX stations I really never expected to integrate resolve. After 1 week shooting braw and working with it in Resolve, I'll never shot ProRes or edit in FCPX again. A couple of producers had mentioned to me that they didn't see the "magic" from the new cam until they shot in braw and processed it in Resolve and I have to agree. It isn't just the file size and the ease of editing and grading - it's where the full potential of Gen4 and the new cam IQ comes together.

Here's my effort, and to help anyone who might be thinking something fishy went on, the first clip I shot was at 10:02 - and I exported the edit at 11:10 ( screen shots attached ) - No animals were hurt in the making of this film, just one carrot.

I wouldn't worry about what other people are up to or where they seem to be at. Everyone is winging it to some degree or another. Plus, they haven't got Jasper so, you know, who's really winning here? If its any consolation, I have been through several more of those 0 birthdays than you and still don't feel completely like an adult. Its often no bad thing.

I don't find it that way to be honest, here's a sample shot on P4K from a PXY file:

You're welcome : ) You kaylee or anyone here who may have the need, don't refrain to drop a bell in these pages or feel free to send me a PM at least. A friendly hug even at the distance of a keyboard when not else is possible at the moment can warm someone needing for support of another fellow user. That's the real meaning of community, there's life beyond cameras and the heart of a filmmaker geek (E : -)

I honestly thought this was a Blackmagic Pocket 4K waitlist support thread. Hope you feel better soon.

heyyy guys.... thank u so much..... im ok ive got a birthday ending in 0 next week, feelin a lil sad and lonely. talked to some old friends from the ancient past... that was weird. not good but not all bad i guess. didnt get the closure i wanted but maybe it just came in a form i didnt expect just thinkin about my life. there are my "normal" friends who have kids, families, and so on, and being an adult now, on an emotional level, those are the things i want, stability, etc, not bein an art star like when i was 20 its whatever. ill be ok. im feelin a lil better today. thanks for the hugs, i needed that

This is the official start (and maybe quick death!) of the...... 3 Hour 1 Minute Film Challenge!!!1 The rules: You setup, shoot, edit, and upload a film in a single 3-hour period - no gaps, once you start the timer you can't stop it again The final film must be 1 minute or less If your finished film looks too good then others can challenge you about the 3-hour time limit and you must explain yourself to keep your reputation in tact There are no prizes, no timeframes, and no judging Everyone that makes a film and publishes it is a winner, people that don't try are losers, and people that try but fail should learn from their mistakes and just try again There are no more rules FAQ: Can I plan things in advance? Yes. What limits are there for budget, cast size, crew size, and number of otters making cameos? None. Why are you doing this? Why not? No, really.. why? We learn by trying new things, finishing and sharing them. Too many people obsess over tiny things and never get anything done. This challenge is designed to combat that. What advice do you have? You can be an extra special winner if you: Publish in 720p - equipment shouldn't matter and if your film looks dull in 720 then 4K will not save you Try new things and experiment - think of this as going to the gym for film-makers where you can push yourself to learn and if it fails then who cares (it was only 3 hours right?) Encourage others by being helpful and supportive Have cameos from otters Film a timelapse as a BTS so others can see how you did it - an action camera is a good choice for this* (* if you wear it on your person, please remember to turn it off when you visit the bathroom) Invite friends over to help Focus on having fun and enjoying the process (having so much fun you didn't finish the film in time is also a kind of winning) Call your mother (after you've hit upload) It sounds like fun but I don't know where to start? Set a timer for 1-hour, plan the video, when the timer runs out, reset it and shoot, when the timer runs out, reset it for 45 minutes and edit, when the timer runs out hit export, then upload. Then have lunch, put in a fresh battery and SD card, then start the timer again.... I look forward to seeing the first films posted below in about 3 hours time.

?

i suspect you could throw a piece of broken glass in font of the bmp4k and the footage would still look good honestly between you and mercer and the others posting lens samples, i dont think anyone can go wrong with the glass thats available, be it vintage or new. Of course some glass will be better suited to some projects more so than others. To some extent i think its how you use or exploit those lens traits that will define a video and whether people find it filmic or not

Right, its charts and bottles time again ! Haven't got a PL adapter for anything full frame at the moment so these are from RAW stills from the Blackmagic Pocket 4K. Same as the other test, so maximum aperture in the left frame and again at f5.6 in the right frame. Bit of a caveat as the RPP Prime is in T stops so I had to get it in the ballpark and then adjust exposure to match. Also the framing wasn't matched as its a different focal length but also due to having to mount the PL on rails but, hey, its a free test so I reserve the right to be a bit sloppy So, across the top we have the Samyang 24mm f1.4 and across the bottom the RPP Prime 25mm t1.8 Charts first. Then the same story with the bottles, with the focus set on the Cointreau bottle. CONCLUSION ? Less contrast on the RPP makes it look a bit smoother but we again we are quite a fair way from night and day differences. The Samyang though.....bargain.

The development of this app is fascinating since this kind of stuff is far beyond my skill set. Continued success. Chris

Only if you will be doing more lossy compression on the same video down the line, and the methods used in the different compression passes differ in some significant way. If you are going to use the same method (only with different amounts of quantization), it doesn't matter much. So if you'd be doing compression after acquisition with, say, slimraw, there are enough differences between lossy slimraw and lossy in-camera to warrant doing lossless in-camera. Well, it is normal. Not only BRAW needs to happen in-camera which imposes some limits (power, memory, real-time, etc), but it is likely hindered by its attempt to avoid Bayer level compression (possibly due to the patent thing). On the other hand, denoising (which often goes together with debayering) does have advantages when done before very high compression. More precisely, lower resolution images can withstand less compression abuse. It should be fairly intuitive: if you have a fixed delivery resolution, let's say 2K, and you arrive at this delivery resolution from a 2K image, you can't afford messing with the original image much. But if you deliver to 2K from a 4K source, you can surely afford doing more compression to the 4K image. BM raw is already tonally remapped through a log curve. The 10-bit log mode in slimraw is only intended for linear raw. No. Size will always go up when transcoding from lossy back to the lossless scheme: this works by decompressing from lossy to uncompressed, then doing lossless compression on the decomrpessed image; you can't do the lossless pass straight on top of the original lossy raw, it doesn't work like this. So going this route only makes sense when people need to maximize recording times (and shoot lossy), but still want to use Premiere in post. If you insist on using DNG, you'll get best quality per size from shooting lossless in-camera, then going through any of the lossy modes in slimraw: which one depends entirely on what target data size you are after. I honestly wouldn't bother doing it for a camera that has in-camera lossy DNG, unless I really, really wanted to shrink down to 5:1 or more.

You need a version of the NPF sled with a transformer built in to step up the voltage.

Hope you're feeling better Kaylee!! 30's (if that's where you are now) are a real treat, much more productive than 20's.... it's where things finally start to come together. I am sure you will start to see that soon. I didn't even start EOSHD until I was 30!

You can get Pro Color 3.0.... Unless you need help setting up the menus / codecs / video modes /etc, then the shooter's guide comes in handy.

So sounds like IBIS will be coming to the XT4... The 33mm f1.0 though. This is one lens that on paper at least, I thought wow, but having seen the mock up of the thing, by gawd it's a bit too massive for my tastes! Nailing focus at f1.0 is a tough enough gig as it is and how often would I really use it? I shoot my 56mm f1.2 wide open quite often and that's a near limit and I think if I wanted something wider for photo or video, I'd go Mitakon and manual focus. Plus a lot lot cheaper!

After 2 hours 59 minutes, I couldn't find any otters. So gave up. Would have been fun and may still have a go, but currently my XT3 is with Fujifilm UK being fixed which is a very legit reason to be a loser.

Well i have been shopping online... bought an interesting (lens) which came to my attention while i was looking at something else and i'm bidding on another, the Olympus 15mm body cap lens. i watched some youtubes on it and it seems a little quirky perhaps but at least i'll always have a lens on the front till i find something else and its pretty cheap. btw kye this is all your fault bought and installed btm's app, had some teething issues with my oppo r11, however btm has since sorted me out and it now works. So if you have an oppo r11 it may prove helpful to turn on location services when you turn on bluetooth le. once your paired you can open the ctek app scan for your camera, when the camera is found you can highlight the camera and attempt to connect to it. you might get an error like i do, so wait a few moments and try to connect again.. i have to press the connect button a couple of times and then it will connect btx the fifth and last image is the first error message i was getting maybe it will help you with further trouble shooting

lol tbh I love cats but I’d be worried that kitty would end up as a snack for this guy despite my best intentions ?

I use this daily and can run the camera no problem with no internal battery, running into the power socket, not a dummy battery: https://www.aliexpress.com/item/DC-12V-NP-F-Battery-Power-Supply-System-Mount-Adapter-Plate-Holder-for-BMCC-BMPCC-4K/32955311989.html

Nice. Simple and well executed

Sadly, they have announced bankruptcy. Hopefully no one has been stung financially with regard to pre-orders. https://www.newsshooter.com/2019/03/16/cinemartin-to-close-due-to-bankrupcy-/

No. Just kidding.. Sure. But only because you asked so nicely! ???

Happy to help anyway I can. I just turned 31 and my life started to come together the past year! I didn't believe my old arts teacher for 10 years when she told me that it will all work out within the next 10 years! She always smiles when she sees me with my fiancée out on town going to the movies or me talking about finally making a new project Got a little something for you here, my go to song when I need to energize

4:3 Open Gate video recording!

I didn’t watch the short since I am in a rush to an appt. I’ll check it out later… But responding to the initial question, Imo, if you don’t have a particular story to tell (you do, but maybe your natural medium isn’t a screenplay), have a particular way of telling a story: •Watch Spielberg films and focus on how his camera placement and camera motion correspond to how characters feel. What is the emotional center of the scene? Where is the camera in relation to it? (Consider focal length: a CU isn't just a CU–it could be shot with a wide lens right in someone’s face or a telephoto lens from across the street.) How does emotion relate to what characters want? We get emotional about our needs... Focus on emotion and how Spielberg draws you into moments of wonder and drama, but provides distance on moments of tragedy or comedy through blocking and camera placement. Notice how he integrates the gags (whether CGI or practical) into the medium shot, but doesn’t rely too heavily on POV shots. He keeps you close to the characters, without making you "one" of them. He's very transparent and classical. He puts you in the world with his characters without directly putting you in their eyes. Watch how Saving Private Ryan’s opening puts you into the battle even before there’s a particular soldier with whom you’re aligned. What he’s doing is complex and subtle, and probably mostly intuitive. He uses POV shots, he just uses them differently from Hitchcock. So just do what feels right! •Watch Hitchcock films and focus on how his camera placement corresponds to what characters see. (Consider range of narration and plot vs story–what characters get the most POV shots and when do you know more or less than a character. The “master of suspense” is often aligning you closely with the protagonist to make you sympathetic… then giving you a more omniscient range of narration from time to time to create suspense. Read the “bomb under the table” quote about suspense vs surprise.) •Watch Fincher films and focus on how his camera placement corresponds to what characters know. Who is the protagonist of the story? Who is moving the story forward at any given time? Who knows the most information at any given time? What’s in the box? And why do we find out at the same time as Brad Pitt (instead of Fincher choosing suspense and telling us before hand)? Why does he choose surprise here? To me, the Fincher protagonist is whoever knows the most at any given time. I feel like Gone Girl and Seven change protagonists halfway through… or repeatedly... in that sense. I think Dan Harmon and David Fincher both like to focus on the smartest person in the room. No surprise, those guys are really smart lol. •Watch how Peter Jackson shoves the camera right up the face–generally with a wide angle lens–of whatever is scariest or grossest in a given scene. Why does he shock you and gross you out so well? •Watch how David Lynch taps into subconscious patterns, frequencies, loops, in story, visuals, and sound design. How does he get into your subconscious so well? His films, to me, are more similar to music and painting. More abstract. Read his “eye of the duck” quote and consider how he structures each scene around a particular detail, each movie around a particular scene, etc. etc. I think with him it’s very intuitive and abstract, but there is a repeatable process nonetheless. I just don’t think it works if you try too hard to emulate it and think about it. Doesn’t mean it isn’t worth thinking about at all... but if studying this stuff doesn't interest you, probably don't bother. Just think: “let me show you something.” What do you show and how? To whom? How do you see the world that’s different from how other people see the world? Who are those other people you want to share your vision with? Why? Try to meet them half way and show them in a way that’s personal to you, but accessible to them. That’s you see the world uniquely. That’s your voice. It’s your personality. Ultimately, part of this is a popularity contest. But you can choose your clique… and how true to be to yourself... Or if you know the story you want to tell, simply tell it, and the rest will evolve naturally. I suspect none of the people I mentioned above are laboring over the choices I mentioned. They’re simply acting intuitively, true to themselves. Be yourself, but be cognizant of your audience. Make them want to spend time with you, or show them something no one else can. I love Tim and Eric and Lars von Trier. Those guys aren’t making palatable content. But that’s the point. They’re agitators. If you're an agitator, agitate. I remember you mentioned before that your strength was visuals. That you were doing similar things to Kendy Ty? That might be even easier to get started with, but it’s a different trajectory than feature film director imo. (At first at least.) Maybe get into branded content, music videos, try to get a staff pick, etc. If your friends and you walk down the street snapping photos and yours are the most beautiful, that’s your voice and your strength right there! Translate it into videos and start posting them on Vimeo and hounding everyone you know to try to get a staff pick. Obviously connections matter, this is a social medium after all. Network. I hate networking... There are a million different avenues–festivals, YouTube, sneaking into some director’s office, etc. No one can help provide those specifics until you provide the specifics of what you want to do. And even then we’ll get it wrong. But it’s not too different from social media–why did you put this on Instagram vs 500 px? Why did you submit to Cannes rather than Sundance? I 100% appreciate the problems you’re struggling with. I have scripts that are too big for me to shoot on my own, and it’s hard for me to recruit enough people to produce them. But that has to be a part of the conversation, too. FIND people who like your stories. If they don’t like them, find out why–is your story bad or did you just find the wrong audience? Maybe it’s GREAT but they’re envious of it or disagree politically. Still a (potentially) bad collaborator, even if they're a good person and it's a good script. Maybe it needs work (mine do) and your friend is confused. Explain it to them until they get it, then incorporate those changes onto the page. The process of getting the film made starts with communicating your ideas to your first audience–your collaborators. The process ends with you communicating your ideas to a larger audience–your viewers. Build your audience slowly. Build your voice. Start small. And focus on the journey. That said, I struggle with the same stuff. It’s not easy. It’s why, for more ambitious projects, I’m focusing more and more on writing. Not my strength, but if the ideas aren’t there in the script, they’re going to be harder to get across in the final thing and I'm too busy now to devote my life to making weird magnum opuses. Sometimes I wonder how David Lynch got a huge crew together to make Eraserhead. That movie apparently had next to no script and it's bizarre, but this guy was so magnetic that he got people to spend five years filming it. And the movie is amazing. I would seriously doubt he would win any popularity contests based on his films, but here he is directing my favorite tv show. (Admittedly more a cult classic.) Be true to yourself. Act in good faith and with confidence and the two will reinforce each other and grow. Or if you cynically just want to be a director to say you’re a director, study Brett Ratner’s career. That's true to what that guy wanted. And it worked! And more than anything, be confident.

There was something about that voice that made me think you might have been better off using an orange coloured sock...

Unfortunately I don't have a similarly fast 24mm to test against the Samyang 24mm f1.4 But as way of an interesting comparison I do have a reasonably fast 25mm lens. So in the next episode of "Fun With Focal Lengths" we will be doing this...

I finished making the sock puppet skit. Enjoy.

also what happened?

-hugs-

Continuing with the Gravity Falls theme from @Ingerson:

Take two : -)

I look like that and all I do is watch my screen. And deceive myself.

(Kaylee)

So, let me see if I caught everything there: It's an 8K camera that can't record 8K Canon don't even have an external 8K recorder They made an 8K video but we can't watch it in 8K A YouTuber with a RED posted an 8K video on YT over two years ago, but Canon hasn't worked out how to do it yet? Did I miss anything?

I thought you got good at running by watching those "exercise motivation" videos on YT? Tell me you're not tired just watching that...

He looks like he's struggling to work out where to plug that unicorn tail in.

Great stuff @BTM_Pix love both the 85 and 135 from Samyang! So underrated!