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I was messing with some old, test shots from my film. This one was shot with the older non-ai version of the Nikkor 28mm f/2. I’m still deciding on a monitor, so this was graded with my non-calibrated MacBook Air... I’m slowly narrowing down my lens sets... finally.

It would probably just be easier to add ProResRAW internal recording to E-M1X or future GH6 40 minutes at best and sometimes camera turns off at 50% so hardly reliable YES to that. Where is a new Ninja Star?! If they can power it via USB C with no need for Canon LP, even better. Modern chips very efficient and at same time powerful.

Love the Blackmagic image but for me, their models come with serious negatives: BMP4k - no tilt screen, crap battery and the unnecessary need to rig for longer shoots. Ursa Mini G2 - just too big and heavy. Wish it was more MAVO or ZCam. I think there will be quite a wait for the ultimate BM camera designs. In terms of NAB, I’d love to see a Ninja Star size recorder to unlock ProRes RAW in all available frame rates.

I think you may be in luck with that one More information here https://www.miroc.co.jp/report/prolightsound2019-zoom/

While I occasionally do some video and photo work, I've given up on it as a profession. I do drywall work for a living, it pays extremely well, is always in demand, and is a skill that changes very little over time. My stress and happiness is better for it. You don't have to constantly keep up with the latest and greatest tech. Though I will say a big factor for me is that I realized I don't enjoy editing video, I'm such a perfectionist that I would have constant stress during the edit. Pretty much killed film projects for me unless I'm working as part of a team.

It's not a mentality, it's the definition of the word.

It was only when it came to doing the formal portraits that the bride began to have her suspicions.

Shot externally with an Atomos in HLG 10bit mode (higher bitrate than internal) Looks pretty good to me, and a hint of what the internal codec upgrade will look like. I also feel for a promo film it's above average, a very simple story but effective. A bit sentimental of course, and not perfect attention to detail in some shots, but it works. I hope one day when I hear a piece of music it will remind me of the Panasonic S1, when I was young enough to shoot stuff and not too old and crippled to use a camera

NAB 2019 begins this weekend and exhibits open to the public on Monday 8th. One of the big talking points this year I think will be DaVinci Resolve 16 and hopefully we will see a big swing away from Adobe Premiere for editing as a result. Adobe will also unveil updates at NAB but I am uninterested, as I really do think their reliability isn't fit for pro work any more, or any kind of work for that matter. On the camera side it looks a bit quiet so far. Canon confused us all with the EOS R external RAW recording tweet, but it's entirely possible their reps don't know the difference between external HDMI recording and RAW any way. Read the full article

I won't use the term "color science" because it's really dumb in the context of a fairly simple matrix operation to map values read from the sensor to values to be output to a file. However, the colors coming right out of the camera look really nice to me - and the footage is really flexible. The camera's biggest weakness right now is audio. It really needs a powered mic to get decent performance. The engineers have promised an improvement with the next firmware release. The camera's second biggest weakness is CAF performance. It's really decent for contrast AF and is generally passable, but not a thing I would rely on for anything I cared about (though the human tracking mode is surprisingly good). For this, they are experimenting with add-on modules (ultrasonic and lidar have both been mentioned). We'll see what comes of that. Other than those two things, just about everything is really great. It's really shocking how much things improved between the E1 and the E2. If they didn't have the same logo, I wouldn't believe the cameras were made by the same company. I'm really happy with my purchase and I'm likely to jump on the preorder to get the APS-C camera with a m43 mount.

11 years ago, I missed the boat by 6 months. I bought the XH-A1 in March of 2008. The 5dmkii came out about 6 months later. My career never really recovered as I ended up doing ENG work since 2010. Broadcast is great and rewarding. It too has been a race to the bottom depending on organization. I still do freelance work on the side, but dang is it so competitive. I've been dumping money and energy into catching up with the DSLR revolution/Youtube/Instagram folk within the last two years. The days of using the letus/redrockmicro/ etc with camcorders was short lived. The people who end surviving are those who continue to invest into becoming a better visual storyteller. Knowing and getting the shot still matters above gear. Those who care will compensate you dearly too. EOSHD is definitely a step up from my dvxuser days. Thanks to everyone for their knowledge and candor! Keep up the good work Andrew!

From a Sigma Art 18-35 f/1.8... posted by another youtubber. No need to wait for NAB'19 ; ) from a glad camper with 4 units so far, Happy shooting! : -)

I do not care at all about IBIS, but a more ergonomic design and NDs would be amazing for a P4K Pro! I seriously dislike the current form and desing. In my opinion is neither practical/interesting.

They should announce the Pocket 4K Pro with the exact same specs except that it ships on time and with adequate supply.

Haha in that case, good luck with your search.

I really like Japan’s G99 name, sounds more awesome than G90/G91/G95.

To do a friend a favor or get a foot in the door. There's an interesting story I heard, not sure if it's true, about this guy who shot a (for charity) calendar with all these A-list celebrities and he did it for free, at a loss. Now he has a portfolio of high end photos with Justin Bieber, etc. That guy was making a shitload of money the next year. If you're not a professional yet, there's market for lower budget stuff, and sometimes that goes somewhere. I see a lot of AFI grads taking this path rather than going to AC to operator or whatever. It is not an easy path. I personally work cheap for friends, sort of a barter economy thing with a little cash thrown in. I will almost always work cheap if I'm doing something I'm not quite professional level at. This has gone wrong at times though. That said, it's a great question. Full rate jobs are almost always easier than low rate ones because EVERYONE ELSE is doing a good job, making your job easier (if you're semi-competent). You make an extremely good point and anyone who's a working freelancer would do well to take your advice. There are reasons to take low pay work, but competing on the basis of being the cheapest will just make you successful at being the cheapest. Nothing to aspire to imo.

You could try this section of fiverr as a starting point https://www.fiverr.com/categories/music-audio/voice-overs?source=hplo_search_tag&pos=1&name=voice-overs

I am in the wedding business, photography & video and have mixed views on this. First of all, there is a lot more competition. a LOT more. Since I started out close to 20 years ago, there are at least as 10x as many offering a service. Also, the competition is a LOT better than it ever has been, both in quality of output and in regard to marketing it. Video is less crowded than photography however as the learning curve is steeper and the production times longer, - less appeal for many ie, less see it as a fast buck, whereas with photography, everyone with a camera thinks they can do it. Bollocks, it takes years and dozens of different scenarios to get really good at it. I came from 5 years of college and uni photography and reckon it took me nearly 8 years until I felt I really knew what i was doing without having to really think about it. Then there is this 'race to the bottom'. It's been talked about for years and to an extent, it is true...but at the same time, not completely. The trick of it is twofold. First, you need to be offering something that is on another level to 'the rest'. I am not saying you need to be the best in the world, but better than anyone else they will probably look at. Ideally, you need to have a number of 'points of difference' and deliver this message with clarity. People have increasingly shorter attention spans. Second, you need to be found by the type of people that are your clients. This may only be 1% of the entire market. Or less. If you are trying to appeal to all and catch fish with a massive net, you might actually be better off with a rod and fishing for one species only. In regard to the latter, you can try and have a broad appeal and try to snag that 1% through the sheer volume approach or target your marketing and have a much smaller volume of contact, but a much higher booking rate. I've found the latter works for me and prefer the 'larger fish in the smaller pond' approach works better. Over the years, I have seen so many 'young bucks' come into the industry. First of all they are full of enthusiasm and it drives them for a while and all that energy helps compensate for the relatively low prices most charge, fully intending to put them up once established. They then try to do that and the work begins to dry up. Most then give up and go back to their 9-5 day job with all it's securities when they realise the reality is not swanning around the world at their clients expense and editing on a laptop in coffee shops. One other thing I have found is that 'good enough' is not good enough and you need to go above and beyond simply to maintain your position. It's extremely easy to get sucked downstream and incredibly hard to swim upstream/against the current. The latter can be done, but to get that extra 10%, often requires another 100% effort. Is it worth it? Maybe... But yes, I 'lose' out sometimes to the sub 500 photographer who either promises the moon on a stick, or more often than not, don't and they (the clients) know they won't be getting much...but that exists in all kinds of services. Or the client deludes themselves that the cheaper option will work out for them only to regret it. Doesn't help us if they do however as folks rarely pay twice and in weddings, never. To conclude, another couple of attributes any small creative business needs are a thick skin and a lot of drive/determination. I would not want to be starting out in photography/video today knowing what I know and would persuade my daughter against it. The bottom line though is that there IS a market still and a very good one but it's a case of finding the right one for you and working it. Continually. Just like an athlete, there are some people who are naturally gifted, but they can and will be beaten by someone with not so far off genetics that grafts harder then the rest. Oh and one other thought, I have tried several times unsuccessfully to get into the commercial market and in the end gave up concluding I could just not make it work for whatever reason, so I plod along with weddings which I genuinely enjoy shooting. Not overly keen on the whole industry and what goes on behind the scenes, but that is another story...

When this system was announced, there was a discussion over the internal rechargeable battery not only in terms of run times but also over longevity and if it failed would that be game over for the units. At the time, I speculated that based on the power spec quoted by Sennheiser and the shape of the units then it was likely that it was going to be a standard off the shelf battery (a 3.7V/850mAh 14500) so not only should it be possible to replace a dead battery, it shouldn't be that much of a challenge to make it swappable if you needed really long run times in the field. So.....now that I actually have one, I thought I'd have a look. And, yes indeed, it is a standard 3.7V/850mAh 14500 battery. You can pick these up for less than £1 each and a charger will set you back about £5-7. The connector to the board is also just a standard connector so if you really need the longer run times and swap out capability its pretty straightforward to fashion this yourself and have all day run times for both receiver and transmitter for under £20. Now, where did I put that warranty form....

Hello everyone, I picked up a nice B&L Cinemascope Camera Attachment Anamorphic lens but there seems to not be much content on it online. It is not the huge projection lens, but rather the early dual focus setup camera lens used by 20th Century Fox. Has anyone had any experience with using this lens before and would like to share it?

I heard that the Canon K35 glass, some of the most desirably vintage cinema glass in the world was based off the Canon FD L series glass. I heard that the Canon K35 glass, some of the most desirably vintage cinema glass in the world was based off the Canon FD L series glass. I couldn't find anything on the web that showed these comparisons so I made the test myself. Results of what lenses are what are below. Results of what lenses are what will be answered soon!!!!

I'm thinking about that too, but I also know I should probably just stick to the E2 and worry about other stuff .

Seems he didn't check the date when he uploaded it on the 31st March

IBIS? Headphone jack?

I had a 6 camera event shoot yesterday. I used 3 of my GH5s cams and 3 of my P4K cams. Both cams are great, but they are quite different. The GH5s is a good bit better in low light (a stop or two). The GH5(s) cams are a good bit less "fiddly". You can pull them out and just shoot. I can even send the GH5 with a good lens with my wife (a great editor, but not a great camera person) and she can capture usable video footage. I can even set it to mostly auto mode for a novice user and I might get some usable video footage. With the P4K's I have to worry about power and lots of other little things (like will the audio work right). The menus are very easy to use, but there are lots of things to think about while using it. I would really hesitate giving it to an inexperienced user. With all that said, the footage is lovely. For my use, I find that I am using the P4K's more and more. I have even toyed with the idea of selling some of my GH5s cams. I am also seriously considering purchasing one of the new Blackmagic Ursa G2 cameras. I wouldn't have even considered that a few months back. The P4Ks are definitely more than you might expect. Earlier today, I even found myself wishing that the GH5s footage had been BRAW! Weird, I know...

Nice shot!

I get 40 mins with 10 year old LP-E6 batteries. New LP-E6n on the latest firmware will run an hour by all accounts. Even 40 mins isn't that bad if you have a stash of batteries.

A canon LP-E6n lasts an hour - hardly crap. External battery options are cheap and easy to implement. What cameras don't you need to rig for longer and more complex shoots.

Not really. There are also power solutions out there beyond extra units from your shooting vest or pocket for extending your shot if so. And no tilt screen is not much of a problem (have you ever used one for a long time BTW?) in any way other than as vlogging or external monitoring. If this is effectively necessary as long as rig it, really, not strictly mandatory at all, mere FUD of non-users mantra or from a tiny minority : ) Nothing against tilt screens I've always become used as Panasonic shooter but to take it as a deal breaker is a nonsense and pure BS to this user here : -)

Quite a nice Freudian slip as I think this show is probably going to be a bit more of a quiet one than some editions !

Panasonic vlog in 8 bit isn't very usable.

Easy question and difficult answer. 1) NX lenses do not allow the installation of a Speedbooster between the lens and the sensor due to the short focal flange distance. 2) One could think of an electro-mechanical adapter similar to the Techart but it would not allow automatic focusing but not iris control. 3) The costs for the production of an intelligent adapter could assume an adapter cost of around 1000 euros.

I use this one a lot for quick and dirty stuff like Facebook live interviews through my iPhone, works great, you get a clean signal and the built in batteries last for hours. I keep it in my bag as a backup to my Sennheiser system in case something goes kaput as well, but I've never needed it in that capacity. Still for $50 its served my needs well. https://www.amazon.com/Wireless-Microphone-System-KIMAFUN-Transmitter/dp/B074MBD643/ref=zg_bs_11974761_3?_encoding=UTF8&psc=1&refRID=W4ZTF1WC1WVA49MC2H8H

I hope it is not 100% the same as the animation feature film allthough it was great.

Personally I define 'professional' as in, 'sole or greater source of income', ie, nothing to do with quality of output or level of service. A good amateur will generally always 'beat' a poor professional. I have been watching a few lighting videos on the Tube recently and they are all over the place. There are some lesser known people producing some really nice stuff and then there are some labeled 'Masters of Light' demonstrating some simply hideous results. The latter may be professionals in respect of earning a living, but amateurish in regard to results! I don't think there is anything wrong with charging low to get a foot in the door, - we all had to start somewhere and all did it. I have no issue either with quoting low for an out of season job, mid-week or short notice when the difference is some welcome extra income vs nothing but retaining a pretentious elitist attitude. Nope, I will sometimes look at a job and say, "you know what, it's lower than I'd normally take, but in return for a few days work, I could buy that new expensive lens, a new mountain bike, take the family away for a week".

Vlog, headphone jack, usb charging...

The FD 50 1.2 L has an aspheric hand ground element. I don't think the 55 FL/FD does (the older aspheric lens is a 50 1.2 as well). That makes me think the K35 55 might be a little bit of an odd man out compared to the others (if they are based on FD L's) since both the 24 1.4 and 85 1.2 have hand ground front aspheric elements as well. Just seems a bit strange to me that they would do that. I sold my 50 1.2 L FD (wish I hadn't) but still have the 24 1.4 L and 85 1.2 L and all three (along with the 80-200 f4 L also sold) were/are some of the nicest old lenses I have used. I really should get my 24 1.4 converted to EF. My 85 1.2 still needs fixing as it has the dreaded dissolving bearings issue that certain FD lenses can get (very loose focus throw now) but I can not use them at present. Still keeping them for when I CAN use them again.

Competing on price is a terrible business. Anyone and everyone can be the cheapest. Customers that prioritize a lower price over quality aren’t worth working for. Think about any service. The cheaper the rate, the lower the talent. Why would a professional accept less for creating a better product?

I will do it for €50! I've only had a brief test of it and it is fine but I haven't tried it in any densely saturated areas although our apartment does have the equivalent of a small town's worth of 2.4GHz devices humming away at any given moment ! This is a fair and accurate appraisal of it that I would agree with based on my own short time with it.

Specs-wise, it's actually pretty much everything I'd want from a camera like this. Price is the real issue - £1,079 with a lens is getting awfully close to the G9's price range. EDIT: Just realised, it's got the same crop factor as the GX8 and GX9, rather than the less severe crop of their 16MP cameras. That's... not ideal.

I bought one used. it's about 1.5 stops better in the shadows than the c300 ii and same in the highlights (3.5 stops over key) - https://cinematography.net/CineRant/2018/07/30/personal-comments-on-the-2018-cml-camera-evaluations/ which makes it almost as good as any camera - well better than the alexa in shadows but, still alexa is the king in highlights. it shoots pro res. it does everything you wish the c300 ii would do. well not raw light - i don't know why it doesn't do that - maybe I should ask them. here's some stills with a zeiss 28mm standard speed - doesn't quite have full frame coverage. i'll post a video soon to show more tests with it.

They probably don't. It is either the beginning of their career and they have build up their reputation or they have day jobs. Once they become too expensive, another up-and-coming player will take their place. Hopefully, they haven't quite their day job by then. At the end of the day, the marketplace can only support so many full time professional videographers and there will always be a need for "just good enough" amateur jobs. Speaking without any statistics to go on, videography is more accessible than ever and more and more people try to make a living doing it and that is why there has been a more vocal outcry about the diminishing prices of jobs. If a reasonably good videographer was hard to get, prices could be higher.

A grand per finished minute for your run of the mill corporate ish video is completely reasonable.

Just came across this post from Hal Hartley on Instagram. He's updating a bunch of his old films, including Surviving Desire. He included a screen shot of updating the colour of Surviving Desire on DaVinci Resolve. Of course, we know filmmakers all over the world use this stuff. Still, it's cool. And if you haven't seen any of Hartley's films, do yourself a favour.

I'm french ! No no no the max Iso I used was 8000 but you can go up to 20480

...for God's sake already...

this is where YOUR artistry and YOUR brain are supposed to come in to play Zach @Snowfun suggested “My Town” — super, thats a broad concept that you can clearly execute because..... you live somewhere, right?? so think about that phrase: “My Town”. ask yourself, how many different ways could you interpret that? What is your town? Is it small or large? Do you like it? How does it make you feel? Do you like the people? Do you think theyre cool? Do you wish they were different? Why? Would you rather live somewhere else? Why? What would you tell someone from Los Angeles who came to visit about your town, to describe it to them? In a word? What about an alien from outer space? Whats your town like to him? Maybe your town is internal, its a place inside you Maybe its your inner view of the outside world. or maybe its something you’re trapped in, and you dont like seeing out maybe you live in a ghost town where everyone is dead maybe your town is lost in time Maybe your town is a tree because youre a squirrel ? just let your mind wander its art mannnn

I'd definitely hold on to my MFT glass and cameras if the GH6 had 10 - 12 bit internal recording (BM Raw or ProRes Raw), 120fps in 4K, and internal NDs (the last one being the most important). As well as the IBIS of the GH5 and the low light capabilities of the GH5s. Throw on the 10-25mm f1.7 and I could use that camera for almost everything. Some f0.95 autofocus primes would also be great.