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It is some cheap (Hama) shoulder support. I bought it 2-3 years ago for some 10-15 euros. Now I can find only on this site (and it is 40 euros ?; it seems no longer produced so the price is way up). Retractable and easy to put into the bag, mounts in 5 seconds. Another example for shoulder support: And another one, when I want to go wild. ?

Resolve and bRaw are totally free, and bRaw is a open Codec that is FREE for anyone to use in their cameras and anyone's NLE. That is a Hell of a lot different than Forcing you to Only use a Apple, and FCP, a Apple product, and Having to pay a license to Apple to even have it in your camera, or NLE, and having to pay Apple for FCP, no free version. See how many F ing times you have to Pay Apple. You don't have to pay BMD anything unless you want the full version of Resolve, and even then it is for life it seems, and only 299 bucks. And they didn't charge a dime when they introduced the bRaw upgrade. Even Panasonic wants to rip your ass for V Log, Sony is good at it also. I don't see how anyone can be Anti BMD. They have done more for the average guy to make stuff affordable than the rest of them combined.

I'll do a post about it next week. There is a version of it for the Pocket 4K and one for Panasonic.

I'm glad I didn't buy one now, I'd be really sad...

Probably not that different from the raw footage of filming from the matrix. A lot of green screens and bare bones shots in that that are filled in with VFX in post.

Alexa rec709 based monitoring luts that is. I'll try to shoot some side by side Alexa and Z6 over the next week. Was asked to do this over on dvxuser.

As I was watching it I just assumed they had their special effects budget cut and so decided to make everything dark and concentrate on the foley.

@DaveAltizer I just watched your video earlier too and enjoyed the rant ha. I picked up an EOS-R, A7III, X-T3, and just now a Z6 just to compare for myself. And I’ll be damned if EOS-R doesn’t have some mojo. It doesn’t make any sense on paper but as you, @DBounce and others have said, there is something satisfying about the image. And it’s not just color as I’m shooting monochrome video. It just somehow looks closer to vision I have my head. Even the X-T3 I found to look nice, but somehow more sterile and less vibey ha ha. And that was with both F-log and Acros and trying to match the rich monochrome look I can get out of the Canon. Still I’m very interested to see what the raw Z6 image will look like.

It is like Steven Soderbergh that shoots all his stuff now on an iPhone. Does that mean he is right. No, I think he is crazy as bat shit for doing it, and I am a iPhone fan. Dark is dark I don't give a shit how artistic the director thinks it is. Sounds like he is bat shit crazy also. Some people on here sound pretty much like Sheeple to me. If it ain't worth a fuck I don't give a fuck who filmed, or directed it, it is still shit..

For just Photo editing I don't think you can beat the free version of DXO OpticsPro 11. The Smart Lighting check box is worth it alone. I don't have the paid latest versions, I used to keep up with them, but don't do enough photo stuff anymore to justify them over the free, few year old version, 11. https://support.dxo.com/hc/en-us/categories/203275007-DxO-OpticsPro-11

I have three of the P4K rigs and use them daily. I strongly encourage you to get the 1TB T5 drives instead of the 2TB drives. When shooting BRAW, the 1TB drive holds a LOT of footage (like almost 500 mins at Q5). Having two 1TB drives gives you a backup, gives more flexibility when shooting (like can still shoot while dumping a drive to backup storage), etc. Just my thoughts. Good luck!

i have an upcoming vfx rich scene im figuring out, like just ~how~ to shoot it in the first place, and im watching some tutorials......

well, objectively, i looked at the shots and i never would have released it for broadcast like that, regardless of my personal taste, or what you might see in perfectly controlled conditions – its just too flat additionally, regardless of my personal opinion, the DP's, director's or anyone else's, PEOPLE CLEARLY HATED IT. THATS NOT DEBATABLE so thats a problem lol

Why shoud anyone "has to accept" someone's style? I could accept that some DP is trying to have his or her "style" or "signature" (and everybode has a "signature", that is a lousy metaphor for "being creative"), but I could also see that "style" to be wrong or bad. Or, more pricisely, in this case I hardly can "see" anything, let alone a "style". Especially when he arrogantly accused viewers and their TVs for this failure. Real creators are humble and attentive both to their craft and their public. So, I wouldn't be so sure that this DP "obviously knows what he's doing" - he was a DP of an entertainment TV series broadcasted by Net, and he should be aware that - just techically, nor "artistically" - the picture quality depends on many other conditions. If he did that as a feature film for theater, then the case would be different.

all the good ones~!

I agree with Reaper and Fusion, there are not much alternatives there, although, and depending on the level and if you're used to layers and comps don't discredit Hitfilm. I know is not as powerful as Fusion but I see it growing every year as a viable alternative just not for fast turnaround or high level stuff yet. And lightroom, for DAM it depends. On1 is really nice, the price is right and the tools are nice. I feel it's still a little bit clunky, not as polished as say Capture One but as with hitfilm, don't discard it because it looks it's developing quite well. It might be the age but I'm more willing to buy products from developers that listen and help them grow(and I include Blackmagic here). Or it might be my desire to find underdogs and Davids that can bring some fight to big Goliaths. For photoshop I rather use Affinity photo but in the open source world see the development of Krita more elegant than Gimp.

Thanks for sharing my video @DBounce . I was surprised that anyone watched that 20 minute rant video lol. There is literally nothing to it but a rant. glad you like it. I wish Canon made better STM EF-S lenses so that crop wouldnt be such an issue.

And we're supposed to "see" the damn signature.

That could work on my Black magic pocket too, may have to try it once I get a few extra bucks.

"My sweet baby boy" - that's really first time someone called me Such interesting people here... Actually I don't think anything, just quote BM site: 13 stops, but you already said you know better. You are welcome... Yes, he is one of those talented people I'm so sad that - as it seems - has no so extremely lucky stars at their side to easy and wider explore/promote their gift

Yes, this is not only a device but a space shuttle... (E : -) http://www.caprockdev.com/antimoire.htm http://www.dvxuser.com/V6/showthread.php?200980-Caprock-Anti-Moire-Filters-Tested-on-the-7D

Pretty amazing footage for a camera you can buy for $150.00 Dollars. Well done.

Yikes! Mine chokes up a bit, lots of stuttering when scrubbing too quick, but its not that bad. It does take a second to think before playing every time I hit play as well. But I don't have anything with the bitrates the GH5 can produce. I can stack all the BM Raw sample clips on a timeline and mash through them much easier, it looks like the Vega and 8-cores will solve my h265 issues though. I'm still amazed at how easily I can edit footage on my phone in comparison. I chopped down 40 min of drone footage and 45 min of GoPro 4k60p footage into a 25 minute video in iMovie, complete with background music and it was fine. It also rendered out a 1080p final video in about 10 minutes, the 4k version took about 25 minutes. Unbelievable. Chris

Hard to see beyond that. Other than the integral network it has. I often have ideas for a film. So I pop in here to read gear reviews. And look at CVP. And convince myself that the idea needs new stuff. And read the Resolve manual. And watch YouTube videos. And do some financial sums. Then I forget what the idea was and go back to work. Thats why I’m not a filmmaker. If I was, then I’d forgo all those interim steps and just make the film...

Camera seems to tick all of my boxes and I really like this fellas style. It does look huge in his tiny hands but it sounds like they haven't compromised on ergonomics, build quality or the IBIS and from all accounts it is a great camera to hold and use. Really need to get my hands on one to try, local photo stores don't hold it in stock here, have to order it which is a bit of a pain and isn't going to help them sell any Don't personally see what the problem is with its size, with full frame lenses you want a camera with a bit of heft - the Sony A7 is way too small, lenses seem to dangle off it (and the IBIS is rubbish) - to me the Canon 5d is a great ergonomic camera for taking photos with (not so much for video cause of the lack of EVF - I like to look through the viewfinder), and no one complains about its weight - the Panasonic S1 and 24-105 lens is lighter than Canon 5d with 24-105

I'm not missing the fact that £2100 is a lot to spend on essentially a hd hybrid in 2019 when all the other cameras offer decent 4k. It's not like 4k hasn't been available for many years on other cameras, Canon seems way behind on this, RS and DR. Tis a bummer cause I've got a lot of Canon lenses but I think I'm going to sell them, and the good old C100 and finally free myself from the constant disappointment of waiting for Canon to get their arse into gear

So I did go out and buy the Fringer adapters and the 18-35 works perfectly. Just as good as native. Its a noisy lens, but with a Rode VideoMic it is perfect. Cant hear a thing. BUT. The 50-100 was supposedly optimized for use with the XT3 and the adapter for Smooth Video AF but it is really jerky and quick - not at all like the attached video. Are there settings I am missing by chance?

This is what a OG BMPCC Can, and does look like. Now granted it is wasn't done by just Bob down the street. But you can see what it is capable of. And it isn't all crushed Blacks and noise. Bottom picture was their rig. Mercer sent me the link to the film. From their Facebook page. "Our main camera throughout the shoot has been a BMPCC, with a range of C-Mount and M43 lenses (and one enormous M42 - the Pentacon 300). That camera has been powered by an Anker Pro 2 (with a modified cable, to fit the tiny input on the BMPCC). The Anker is mounted to the rig via a 90 degree metal plate from B&Q, some 15mm plumbers clamps, and some velcro tape. We've had a bog-standard manfrotto tripod throughout, a cheap rails/plate set from India (Cine City on Ebay I think..?) and a cheap camtree cage. On the front we've got a Fotga mattebox (with barn doors and a swing-out front - invaluable), a set of Tiffen NDs (kindly donated), and a Hoya 82mm Polariser screwed in to a filter tray and left in one of the slots for the duration of the shoot."

Im thinking a couple of these for power at the moment, they are tiny and can charge via Usb-C so no need to bring an additional charger https://www.prolightdirect.co.uk/product/50wh-nano-one-v-mount-battery/