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This was yesterday evening in our recreational area 'Het Twiske'. Colour of the sun was extremely due to sand out of the sahara. My favourite setup Fuji X-T3 + Voigtlander Ultron 40/2 + Bolex Moller 16/32/1.5x + Rectilux HCDNA. Variable ND filter Mentter HD. F-Log, Eterna in post.

Throwing stones is good I can't comment on the P4K, but I'm in m43 land with my GH5 and I think your summary is about right. FF lenses adapt really well for the longer focal lengths but getting fast/wide/both lenses is the challenge. In case you're not familiar with the options: Voigtlander make an excellent series of f0.95 lenses These come in 10, 17.5, 25, and 42.5mm lengths, which are the equivalents of FF 20mm/1.9, 35mm/1.9, 50mm/1.9, and 85mm/1.9. They're gorgeous to use, and the aperture ring can be adjusted to de-click. I only have experience with the 17.5mm one, which is soft at 0.95 but is almost fully crisp at f2.8 (FF f5.6 equivalent) and for some reason has a strange colour shift at 0.95 that cleans up by 1.4 I use the SLR Magic 8mm F4 (equivalent to a 16mm F8) that is optically good but not great, but ergonomically is a pig because it's designed for drones not a human user. There is a Laowa 7.5mm f2 which is more expensive, but seems to be good optically and is designed for human use, and it popular with vloggers due to the 15mm equivalent FOV. The Sigma 18-35 f1.8 on Metabones adapter is popular and optically and ergonomically nice too, although it's heavier than the M43 lenses. In a sense, I think your criticisms aren't so much that the P4K image isn't great, but rather that the competition is actually really good.. I think we're spending more and more time being overly critical and nit-picky, or making genuine and practically relevant criticisms about cameras that are outputting a level of quality but are a fraction of what equivalent cameras used to cost

ive been scared to even watch a "NEW CUT PAGE" video cuz im dumb about technical stuff, but THIS is AWESOME, nice and simple, first one i clicked on, thanks @kye ? dude. its dope. makes total sense. the multiple zoom levels that you see at once is smart af

Great overview video about why the Cut page is so much faster than the Edit page: I haven't downloaded v16 yet (I don't do beta versions) but this makes me really excited about cutting together an initial assembly. An interesting point from the video is that he mentions you might be cutting together 1000 clips in a day (1000 clips at 2s each is 33 minutes of video so that seems reasonable). I did some maths on this and it works out that if you spend 5 seconds zooming in and out to make and fine-tune the beginning and end clips, which seems about right from my editing experience in Resolve, then that's 83 minutes of zooming! The Cut page shows three different zoom levels simultaneously and you don't need to zoom at all, so that's a huge time-saver just in zooming. There are a bunch of other things that they've fixed too that I noticed are a bit of a PITA when doing this in the Edit page, so it looks like it will be so much easier. I am really excited about this!

This camera ticks almost every box for me, great ergos, IBIS, 4k60p, 10-bit, weather sealing, etc. except possibly the most crucial one - AF - but it does give me hope the a7s3 or the next Nikon will get it all right. While its a step up from the a73/a7r3 in some respects, its not enough to push me out of Sony-land. Nikon came close with the Zed 6/7, but that single card thing and its battery life are not something I'm going back to, plus the Zed's AF is still way behind Sony's. The a73/a7r3 has served me well since I shoot tons of stills for paid work and I've moved from a mostly handheld video shooter to an everyday gimbal user. I don't think I'll ever own a Panasonic until they admit DFD-defeat and add PDAF, its just so much more efficient for run-and-gun shooters. The next gen Sony sensors Andriodlad keep posting spec sheets show the new Sony sensors will leapfrog everything currently available in a big way, combine that with a new processor and an updated version of the a9/a6400 AF and you'll have the ultimate hybrid. But I'm happy to see this and the S1r - and the Nikons for that matter doing raw externally - this should push Sony to finally go 10-bit internal and up the bitrate. Chris

This. It is incredible complicated to be a good boom op. People do not understand the complexities (physics, experience, good knowledge of lenses, high IQ, memorize lines, physical capabilities, technique, e.t.c). A good boom op can be almost 80% of your sound or more. I was (still am) mixing with the boom at times. This was a very interesting thread, then became the usual iPhone love letter, now people that do not understand sound say whatever they want, because they have a keyboard and unlimited free time. This is a forum about video creation, when a young kid comes here to gather information, what is the message? "Screw sound and buy an iPhone"? All very bad advice..

Hey guys, I wanted to share this rehousing mod I made recently for my Iscorama 36. It's a replacement for a front piece of old plastic housing, that is made of anodized aluminum and has cine gears, retaining 72mm front filter threads and adding just 50 grams of weight. It took me quite some time to figure out this design and I'm pretty proud of it! It solves some real-world problems like close-focus, enabling you to focus down to 1.1m, but unlike DIY mode it has a hard stop at 1.1m and infinity, and looks way nicer then a grub screw drilled into a hole. I made a little video explaining what it is, since after I posted this on facebook people started asking what it does and what are the specs, and asking how to buy one. https://www.dropbox.com/s/wd1w620ddxnv2je/proxiscope.pdf?dl=0 I have decided to order a small batch of these, and already placed an order at one of the shops that does the first stage of the milling. I will make another video showing a closeup process of swapping the housings, so people can evaluate the effort and see if the price (which will be announced at the same time) is right for them. This is intended as a do-it-at-home kind of mod, but you can also take it to the nearest photo technician and they'd be able to do it for you, it's a simple process that takes 3-5 minutes to perform. I also made a PDF with some specs, you can find it here. https://www.dropbox.com/s/wd1w620ddxnv2je/proxiscope.pdf?dl=0 If you're interested in getting one – shoot me a message and we'll figure it out, there's a little queue forming already

What are you talking about? I own the Z6 and the X-T3 and while I prefer the Eterna profile for video, the Z6 has incredible colors, much better than any Sony I’ve ever used and owned. And stop bitching all over the thread about the “crushed blacks” on the Z6 - use flat profile or me Reid’s z-log or dial it in using Nikons own software and I can promise you the DR is at least as good as in the d750, which I also used to own. That said the z6 unfortunately lacks some incredibly useful features when it comes to video, but good color or wide DR, it has it in spades.

Look at section 7. https://wolfcrow.com/important-quirks-and-features-of-the-nikon-z6-for-cinematography/ Just add a link in your post. Some open all the way up, some are just a link. Most open from Vimeo, YouTube.

Surely the fact that there is no exposure meter in video mode and no internal log doesn't help with the quality of the footage out there which the majority is probably shot without a recorder.

Well... I am from Jersey...

when youre spending that canon money, could you give me one of those jobs where you dont have to go like on the sopranos? thanks buddy

It's been established Slog across miriness cameras are not the same. Nikon has it's flat profile that you can shoot with so I not sure why you mention if you don't have S log? The Atomos fills then gap that you're referring to and I've almost dialed in the setting on the Z6 that gets the flat profile that I want. Like you mentioned and I said earlier you can recover almost anything on the Z6 and the latitude is wide. So unless you screw up your setting or are just winging it you have room to work. The FS7 mkII is awesome and is a workhorse for sure. It's also massive after it's rigged out and the Z6 and BMP4K has closed the gap a little. When Sony replaces the FS7 mkII it will be great day for the rest of us.

I spotted it here but not tested it myself yet https://forums.luma-touch.com/viewtopic.php?f=26&t=7539

Thanks Malik. It's a rare gem that Bolex. Hope you find one.

It's so beautiful keessie65! I love the colors! hopefully i can find my Bolex sometime soon

I would guess the the i stood for injection, Ergo, Electronic Fuel Injection. It sort of looks like an Acura Integra GS from back in the day, at least up front. And Wow that is some Really black paint on it also. Nice looking car.

The irony in that scenario would be that Magic Lantern did a lot of the work for them. How do you know they haven’t offered?

I'd like to share one or two clips, but I'm reluctant as I'm still learning how to properly use resolve and grade. I'm still working on my skills and, once I will be comfortable, I'll post here flat/before and an after clips. But what I can say is that the flat footage is quite neutral, and with only minor tweaks like curves, saturation etc. I really find the image to sing. And that's come from someone who likes what he sees from Canon, Sony, Panasonic, Fuji, BMD... I've always preferred Nikon for stills (over Canon), and I find all the attributes that make me like Nikon imagery in the Z6 video files. I've also owned Fuji for years, but, for my tastes, I personally prefer more my stills output with the Z6, than with my XT1, XE2 and XT2. I'm mostly a landscape/documentary photographer for what it worth. Once again, you can read on forums, for example, that Panasonic colors are not at Canon's level, and a people complain about that. But, I often watch beautiful GH5 stuffs that literally destroy a large part of the things I watch on Canon... Coming back to the Z6, I maintain what I think concerning the ratio of filmmakers/amateur-first-time-videographer in the available videos at the moment. Yesterday, I was searching for fresh Z6 footage on youtube, and I mostly came across strange framerate videos, awful grading, copy/paste styles or luts that are not adapted etc. applied to lots of Z6 clips. It really do not praise in favor of the quality of the camera. I do hope that the next firmware will bring more experienced persons to use the camera, and give us a larger amount of great videos to watch. Just a question : prores raw is, at the moment, not editable on PC. Do you guys think that it may be possible one day ? I'm eager to try prores raw recording with the Z6, but not ready to ditch all my computer gear to switch to apple (no money for that). Thank you !

Yea, based on the FS5, I'd say they could (if they wanted to be) the first company to add in a variable ND in a mirrorless body. Would have to make the body slightly bigger. However, this would crush FS5 sales, so I'm not sure they'll do it. They'll have to differentiate some other way (my guess).

The WD Wireless Pro is an interesting workaround (as is the Gnarbox but at greater cost) to get around the file stuff. I've also come across a workaround today for the ProRes issue that could be uses with one of these so I might take the plunge after I've researched it a bit more.

Better buy the Sony if you can afford it! It is definitely 2tiers above and it is not Rodelink big either.

red motorbikes go fast as well, they also slide pretty fast as well, don't ask me how i know this ?

Doesn't look anything like Sony to me. I really dislike Sony colours. As has been said, I don't think there is nowhere near as many serious video shooters with Nikon yet. Nikon has not been a choice for serious video work until now. I love the look of the Z 6 and don't understand how they get such a fat image through so few mbps. But, webrunner5, if you don't like it that's fine, it's subjective at the end of the day. I think the only way you'll find out is if you rent one and see for yourself. No amount of online footage will do that for you.

I just started using a current gen 12.9" iPad Pro with Lumafusion for mobile video editing, Lightroom for stills, Switcher Studio for livestream-multicam broadcasts, Canva for on-screen supers and a few others for random tasks. Still trying to find other great photo and video apps. If Lumafusion adds proper color grading tools and I can figure out a better system for moving and storing files on the iPad, I can see it replacing my desktop for all of my quick turnaround work. The one thing that keeps me tied to a real mac is the annoying file organization system of the iPad. Sometimes bringing in outside assets - like a music track from my desktop - can be an exercise in frustration it won't just let me create a bulk storage folder that i can dump everything in to. Though I'm still getting everything sorted, so I may be missing something obvious. But the Pro is incredibly fast, it cuts 4k stuff from the a73, GoPro and P4P with ease. As soon as I get all the workflow stuff sorted, my MBP is history. Chris

Thank you @Zach Goodwin2 and @thebrothersthre3! Glad you liked it

It's probably worth mentioning that a tablet can be really good if you're filming yourself and you use the tablet to control the camera. Some cameras have excellent remote control apps or browser-based apps with touch-to-focus and all the aperture/SS/ISO/etc settings.

I've used Teradek Live:Air to do multi-camera live broadcasts of press conferences, Lumafusion for really fast turnaround edit and upload of pre-game build up pieces and PicturePro for in game photo editing and transmission. Live:Air is feature rich but relies on IP based encoding to get the video signals in so can end up being expensive and complicated for more than a couple of cameras. Another bonus to the LS300 is it has the encoder built in but for everything else you need separate ones although you can use the iPad's own internal camera too. Lumafusion isn't just the best editing app on the iPad (even Apple are using it in their promos now!) but its actually my favourite editing app full stop because of how fast and intuitive it is to use. The new update gives you XML export so you can move the project and finesse it on FCPX etc if you want but it is still missing ProRes which is going to be a limiting factor for me sooner rather than later. PicturePro is basically a complete end to end photo journalism app for live editorial that you can ingest, caption and transmit from and was actually responsible for the fastest shutter press to newspaper website publication time that I have ever had. There was a bit of an incident outside of a stadium and because I had my iPad in my bag I was able to get the pictures of it away and published before everyone else had had a chance to get back to their laptops in the press room Unfortunately, it seriously blotted its copybook one day when it filed an entire batch of blank images ( which is a complete no no for live editorial work) so I couldn't risk using it after that.

I purchased an iPad Mini and an iPod Touch (cheap as chips!) because my Zoom F8n's app is *ONLY* for iOS Also use it for a bit of light browsing / youtube, that is all.

I have some friends doing some art work with various devices+pen but not much. For our work (video editing) do not see it as being really convinient. I am having the usual setup of big heavy and expensive desktop ---> gaming laptop for editing on the go ---> I am waiting my Surface Go to arrive for viewing and data management when on the field. I truly explored all the options before I order the Surface Go (it is not particularly cheap with all the necessary accessories) but the cost to size and performance ratio was a bit too much for an ultra portable machine that could do "real" editing on the fly. So I went for 10" to 15.6" and to my main monitors. USB C connectivity was/is a certainty for me. Maybe in 5 years a Surface Pro will be sufficient for everything, but not right now. You are sacrificing too much efficience and convinience. It took me 5 minuteds for each purchase to realize that Apple was too esoteric for me.

I don't, but IIRC my sister was using it when she was a Script Supervisor for all her notes and photos for each location/setup/shot/take. I don't know if there was a particular app she was using or if it was just notes and the camera or mixed with paper notes too, but it worked for that really well. I worked out early on that tablets are for consuming content and laptops / computers were for creating content. The fact that the iPad doesn't actually multi-task is a complete deal-breaker for me. On a computer if you have a few applications running then they're all running and if you change away from one and then back again you'd expect it to be the same as when you left, but they actually just make a note of where they were, then when you go back to them they then re-create where they think you were, but mostly get it wrong. If you have bad internet you'll realise that the web browser actually has to re-load the page when you go back to it, too bad for you if the internet is now gone... or they forget where you were through a video or page or whatever, and you have to navigate back to where you were....

I have a feeling Sony is going to come out, like someone on here said, with some groundbreaking stuff on the a7s mk III that is going to knock everyone else on their Butt. They have not dragged this out this long for no reason. They are not just going to add 10 bit, 4k 60 and be done. They would Just be even at best doing that. I really doubt Sony is just going to pull a Samsung and get out of the camera business.

Yea I think that's the ticket. The GH6 really does need to come out strong to have any hope in the new full-frame world: - 120-150fps in 10-bit 4K. - Internal NDs (electronic or on-sensor ND). - V-log (13-stops instead of 11.5 or whatever GH5s ended up being). - Low light of GH5s with IBIS of GH5 And with the 10-25mm f1.7 - honestly, that could keep me happy for a long time. A 25-75mm f1.7 or 35-100 f2 would also be great. The GH5 was 2 years ahead of all other hybrid cameras and has only recently been matched by Pocket 4K (and to some degree the X-T3 and Panasonic's own S1) in codecs, specs - but still has upper hand in some regards with IBIS, photo capabilities, XLR adapter. So, for MFT to stay strong, they need to continue to be 2-3 years ahead with video capabilities on the GH-line.

Now that is a damn sweet ride. Nissan has made some freaking nice sport coupes, even though I've never been a huge fan of their regular cars. Car derail is the best derail, so here are my babies. 2003 Mitsubishi Galant sport, which is my daily and bone stock save for some neon lights and the sound system, and a 1998 Toyota Celica GTi, which has a tuned/lowered suspension, a lightened clutch, catback exhaust and a short shifter. Starting it up wakes up my neighbours and it tries to kill me when I do highway pulls.

Looks brilliant to me. Surely I'm naive, but I can't quite understand why Canon can not simply repack, say, that 5D II + ML Raw sensor/codeck solution and sell it as some sort of its own Digital Bolex version to so many devoted Canon indie/moviemakers and admirers?

You can change and grade out the dark look. Why is this a concern? You raise the shadows up.

The Z6 is already ahead of were the A7SIII was going to be with XQD cards, 10 bit 4K30fps and 12 bit RAW that's coming soon for the Z6. The Z6 also already outputs at a higher mbps then any other A7??? camera. The Z6 will also be able to output at higher mbps in the future with Atomos and it already has better color then any Sony camera. The A7SII claim to fame was lowlight performance and the Z6 already is great in that department. The Z6 also has better IBIS then any other A7??? camera. So if you take the mark that the Z6 is already at the A7SIII has a lot of ground to cover just to be equal to the Z6 (and Lumix S1) that the only thing the A7SIII will be able to do is up FPS to 60 at 4K and then it probably won't be at 10 bit anyway. Why do you think the A7SIII hasn't been announced yet?

I just found this 5D Mark II ML Raw video by accident. It’s an ML Raw test from the early days. It is a test for a horror film so it has some graphic/violent content... in case that bothers anybody.

Yes, well, me personally more and more did this (but with luxury to choose) stuff for money But it doesn't matter... Recently I watched again some De Sica's movies - what a richness and uncanny taste in framing with his than-a-days modest BW cameras! What perfection in evolving scripts through language of visual evocation of emotions! What a usage of perspective plans with totally absence of shallow DOF! Whole give-me-just-Alexa-color-science-and-nothing-else and flying crans mumbo-jumbo are smashed to trash in front of mind that experienced, suffered and searched enough and have something to convey about it... Excuse me for digression, back to the topic: De Sica, or even Dziga Vertov, had not any gimbal, but shoulders are always with us

Stills taken from video on the P4K... Loving Braw. The first is the Tok 28-70mm 2nd is the Helios 58mm.

NPF L batteries are from 200-400gr (usually around 300) and V mount a kilo or more. Better have 2 NPF than 1 vmount for such a small camera.

I only use third party batteries from Patona, never had a problem and they have a general good reputation on the internet. They cost about a little more than the cheapest brands, but we are talking about a 4 euro difference, not so important after all.

yes, i have used sandisk 95mb/s and up to 4k50p 150 mb all resolution work Some shots i have made in rush( i was with my son and you must allways look him and not the cam) standard profil with light correction in post. 1 shot i slowed down from 25p so is stuttering

Yeah I had the "Bulging Battery" Thingy on my Note 7. Next phase is Holy Shit I am on fire or worse. A real confidence builder in your Pocket, right next to your Johnson lol. ?

It certainly has been a very wide ranging thread, with many twists and turns, I reckon if we just throw in some 9/11 conspiracy talk into the discussions then we'll have all our bases covered and hit bingo.

@webrunner5 - I agree, there is something special about 16mm. I think that you can make a great argument that there is something special about every focal length, because in the hands of the masters all are capable of beauty and wonder. I've chosen 16mm, 35mm, and 80mm lengths, but @mercer makes a very strong case for 28mm, and if @BTM_Pix wasn't trying to make every app and gadget not yet on the market I suspect he could make a strong case for basically every other length! You've inspired me to have another look through some footage from our trip through Asia last year and post some stills. Not that I'm anything even in the same universe as a master, but I've managed to luck my way into some nice shots, proving that it's more about what you put in front of the lens than the operator. These are ungraded, apart from some quick WB and contrast, and GH5 10-bit HLG. 16mm equivalent (SLR Magic 8mm f4): I love it because it's wide, but also because it distorts things so things look grander (like the first shot), but you have to be careful not to over-do it: 35mm equivalent (Voigtlander 17.5mm f0.95): I especially like the 35mm for environmental portraits, and having a fast aperture allows great low light performance as well as subject isolation. I also took a 116mm equivalent lens on that trip (58mm Helios) but have since changed my longest length to an 80mm equivalent (Konica Hexanon 40mm f1.8) because 116mm was a bit too far from the 35mm equivalent of the Voigt. 116mm equivalent (Helios 58mm f2): I find the large aperture is useful for low-light, but also for getting shots through glass and defocusing the marks on the window sufficiently (the scooter shot was through a bus window). I'd only contemplate going back if I could only have one lens... fortunately that isn't the case! ???

I certainly have. Also got an email from them about dropping the price for me if I renewed. I'm not going back.

colors look a lot more vibrant. That said can't find anything with skintones

Thanks. I am pretty sure that once I decide to sell all my Sony gear and spend big $$$ going Fuji, then Sony will release an aps-c camera with 10-bit 4:2:2 60fps 4K just to spite me.