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I’m working on some teaser trailers, so hopefully I’ll have some clips to show by the end of the summer.

Well I am sort of out of the loop now as they say, but I have talked to a few people in the local TV industry as of late and for Broadcast they have not given up on ENG cameras. Now they have went to some smaller ones, by that like 12, to 14 pound ones instead of the old 20, to 22 pound ones. I think a lot of it is better, lighter batteries for one, and miniaturization of electronic components. Now that is for 2 person interviews. The typical cameraman and a reporter with a mike in hand. On the solo reporting, getting more common, only have to pay one person, they have went to the really small camcorders, Sony JVC, Panasonic all make them, they are called ENG but they are not shoulder mount useful, tripod or hand held mostly. using 3, 1/3 CCDs in them, some maybe 1/2" and they are like 6 to 8 pounds, and cost like 4 to 8 thousand dollars. At local Pro sporting events around here, Baseball, Football, Soccer they are using the smaller ENG cameras, on field and off, and on the side lines they, the teams, use the small camcorders mostly. At all the big name sports stuff they still use the huge ENG camera bodies with Box 75x or better lenses on them. Broadcast Has to use the 3 CCD sensor cameras to get true 3 color separation, 4.4.4.4 is critical for all the equipment to be close to as perfect as they can get them. You don't want people to see different colors day to day and think their TV is screwy lol. And you don't want the reporters and news crew to look like aliens either. I just don't see 3 CCD cameras going away anytime soon in Broadcast. Now true some, well a lot lately are smaller sensors now, but 3 of them none the less. But I have heard of some Newspaper reporters now using Smartphones here in the USA. But they don't requires the resolution in a newspaper spread like a TV station needs. But it probably is coming down the road. Smartphones are advancing at a rapid pace. Faster than real cameras are.

I have to find the time to do it so can't promise anything atm. Your finding is similar to mine. I only use the 37 for the occasion shot and much prefer the 35 F2 for the same reason. Another issue with the mir 37mm is the big minimum focus distance. Not a deal breaker but can be annoying sometime. Here is a still from Mir 35 f2

From widest to tightest Mir 20M-MC 20mm F3.5 Mir 24M 35mm F2 Mir 1B 37mm F2.8 Helios 44-2 58mm F2 Helios 40-2 85mm F1.5 For anyone who wishes to know the performance of this set, check out this short from Corridor. This is mine with the helios 58

mlvapp is the one you want

Yeah, and an incremental update where you only have to download the patch, rather than the full standalone version would be nice. I have tonnes of internet, but making people download the same thing again and again is just annoying and wasteful.

When I think F35 I think Ed David... Such a wicked piece. Think he sold his... ?

Didn't it turn into RAW Magic? Try that. It's good. Doesn't work with the latest 10bit compressed raw though.

You're welcome!! I'm assuming they're all Russian lenses? I think I can spot the Helios 44 and Mir 37 in there, but the rest aren't obvious to me Confused and paranoid man with camera runs around at the seaside and accidentally becomes the saviour... talk about trotting out the old cliches!!

https://www.softpedia.com/get/Multimedia/Video/Other-VIDEO-Tools/5DtoRGB.shtml#download

Nikkor ai-s 35mm 1.4

I remember doing a sh*t load of research into LTO drives and there was one thing I found out that made me not do it... just can't remember exactly what it was, sorry...

@kye very important! All i mean is if you use software that is labelled as incomplete, you have no right to complain about bugs, either report then to the devs or wait for the actual release. (Of course discussing bugs and crashes with the community is valuable as well, i just get annoyed with people smugly saying the resolve beta isn't ready for production use... Of course it isn't)

I do keep them up to date. ( :

I quickly reverted to Beta 3 and am back in the game. ? Stills still (har har har) suck.

what about an early exclusive sneak peak for the folks at EOS HD

Don't they have a file size limit? Correct. If you're only storing a couple hundred gigs, or even a TB or so, it's not too big of a worry. It's when you start getting in the 10's of TBs or more that it becomes an issue where you're kinda held hostage. It's not as simple to switch Cloud services when you're dealing with such a massive amount of data.

This version seems more stable with less GPU errors. So far, so good.

I get that, who wouldn’t want more DR? I’ve just found, in most instances, 12 is enough for me. If I’m being honest with myself, which I try to, any limitation I currently have, has more to do with my own skills than the 5D3. Obviously, DPAF would make my life easier and smaller file sizes, but ML solved that with 14 bit Lossless and I’m getting double the storage now. I’m also slowly building a small, BMMCC rig for certain projects where ProRes LT or 422, to SD cards, is more than enough... plus I get to dust off my small collection of c-mount lenses. I hear you about the 5D4, I’ve been hoping for a breakthrough, but I don’t know if the interest is there. Everybody at ML seems more intrigued with the smaller cameras. I think I read that one of the guys has stopped working on the 5D3 to concentrate on the M50. To add about DR on the 5D3, I think the 14bit color offers a little more texture which gives the perception of more DR. For instance, in this frame, the texture of my actor’s skin would be way smoother with a compressed codec that had more DR than the 5D3 so, with my limited tech knowledge, I can only attribute it to the extra color tonality of 14 bit...

Nobody will think the tv is screwed when they are watching from day to day, because they have no memory reference from the day before. most people are not even aware of the difference between hdr and sdr without comparing them side by side.

Im not hyped on the 6K let alone 8K, 1080p is even good enough for me. But its also the most affordable full frame RAW camera atm.

My 2x teleconverter for PK mount arrived today. It was a bargain, especially considering that when I opened up the original instructions that came with it, I discovered that it begins with: "The TELEPLUS is the finest quality lens extender on the market" Score!! Even @BTM_Pix can't argue with that! I took some test images through my Sun 70-210mm f3.8, both with and without the TC, and initial impressions suggest that it does a pretty good job of zooming into the horrible CA that comes from the zoom lens! It's a wonder why the person was selling it, maybe it was the whacking great fingerprint on one side of the glass element... ??? I'll be sure to take some test shots over the weekend to properly evaluate it, but it will be great to have some extra reach, considering I'll now have the FF equivalent of a 280-840mm f16 lens.

Peter should be able to sort you out, I hope anyway. It's worth trying the next beta and seeing if it resolves it, har har har.

Looks incredible and a great step forward for Atomos, who need to expand beyond the external recorder game before cameras internal recording get too good. They made a GIANT mistake in them not having SDI out of the box on them, requiring a add on box for the privilege. 99% of users that will buy this thing will want to use SDI.

Yeah I think this has been discussed on the FB Anamorphic Shooters group. IIRC there is a small but clear advantage of the HardcoreDNA. I heard from @IshootbeforeItalk that the original CoreDNA goes a tiny bit wider still.

I just hope he didn't buy it from the original starter of this thread.

The low low budget approach to the cloud is instead find a friendly soul (could be your grandmother, or your childhood friend, whoever!), put a small fireproof safe somewhere in their house, then once a month ship them a harddrive. (preferably they live in a different city to you, or at least live on the opposite side of town to yourself. Just in case a natural disaster strikes like an earthquake / wild fire / tornado / etc)

I think a sensible approach is to have one local backup and one cloud backup. The cloud gives you automatic offsite and allows you to go 'back in time' in case you accidentally delete stuff and it is copied to your local backup (like I did a while ago.) Cloud doesnt need to be expensive. I use Crashplan for small businesses which is US$10 per month. Unlimited storage including connected external drives like my NAS (or a drobo). And restoring is free.

I don't do the double back up part though its probably a good idea.

I didn't. ) : Yup, I think I'll have to resort to this approach in the end. Jim ran out of ideas, Peter Chamberlain came in his place. You can follow the thread here: https://forum.blackmagicdesign.com/viewtopic.php?f=21&t=92628&p=515308#p515308

I think you can sign up (free) to the Apple Beta Program and get a beta mid July (as opposed to waiting until end September.)

It was that or make a new thread, nah, I pick the 2017 bump! ha

thats some bump

Someone over on Reddit has just purchased their first cinema camera, a F35! https://www.reddit.com/r/cinematography/comments/bm6qqh/after_much_research_ive_bought_my_first_cinema/ "

Well with 8K coming, and 6K likely to be a consumer standard soon that will be an even bigger burden on Cloud Services. I don't trust squat away from my own self unless I have it backed up. And if I do that why bother even with the cloud. Sure the Cloud can save you from having 2 backups at different locations, but for what you pay it almost to me for big projects not worth it. There is just way too much hacking going on as of late to trust any one with all your data, that in the long run is nothing short of suicide.

Shot in HLG.

Cloud services are convenient at first but quickly become expensive and hard to move away from once you have a lot of data in them. Bottom line is video data is incredibly burdensome no matter how you want to store it.

I had it somewhere. As soon as I'll find it, I can obviously post. Not promises though. It is archived in some hard drive, no idea where to be pretty sincere to you : ) Great tool BTW : -)

A couple of stills extracted from videos. Minolta 58/1.4 at f/2, Samsung NX1, mostly at ISO 1600, but few shots required ISO 3200, no hacks. Perfectly happy with the results, shadows on this camera are so deep and rich.. Lovin' it.

I think its because all these new features are more geared towards the prosumer and run and gun market. People in a professional setting tend to see cameras as just tools. I think its geeks like the people on here, me included, that are cumming over every new release. For someone like myself who is often doing 3 jobs at once shooting with a 2 person crew, these type of advances are automatically useful for me. In a professional setting you are shooting on say a RED or Arri, all kitted out. You have a 1st AC pulling focus. That type of system has been in place for a long time. I think that's why you hear people saying, auto focus is useless if you are a professional. Why fix what isn't broken. Of course when people actually use new tech and discover that you can do a three man job with just one guy that starts to change things.

"I think Apple have made a bit of a misjudgement in not providing a competitive desktop Mac for the masses and smaller creative studios." I do not think so. This is called the iMac and iMac pro. The latest 2019 iMac is very powerful, more than what most of "the masses" need. It bests the iMac Pro in many real world uses. The iMac Pro will soon get an update and fill that gap as well. I recently invested in an iMac and I am amazed. I have a $500 4K 27" screen and it is such garbage compared to the iMac screen. You would spend $1000 for a similarly good screen. The power is amazing, havent restarted the computer in weeks, haven't had a bug since day one months ago, everything is blazingly fast and the system a joy to use. Also having such a clean and simple design of an all in one on my desk leaves room and is nice. I would absolutely hate to have a normal desktop, including the new iMac Pro which to me looks awful by the way. For work, I have from my company the latest Huawei Matebook Pro x which is considered by all major test website to be the best portable windows laptop on the market. It's such a garbage, full of bugs, have to restart it every week before it slows down too much. A PITA. Everything from the slow wake up time to the bad trackpad to the system is a pain. People can continue to cry all day long about how Apple is expensive and I totally agree it is (sometimes justified, sometimes it's ridiculous). But it just works. By the way, the WWDC was the best in years. iPadOS is amazing. The new privacy features on iOS are incredible. Finally Apple is listening to customers. I laughed good times with the $999 screen holder for the new iMac Pro.

For the majority of content creators (including my self) this machine simply does not exist. It was released yesterday in a parallel universe. Stop looking at it. If you need 28 cores and 1.5 TB of RAM for your every day jobs then this price tag is probably just fine for you. If you are about to start saving money by sacrificing other needs that you may have, so that you can buy the base configuration in the next year, then don't this. It's just silly. When you are buying the base configuration of a Mac Pro, you are actually paying for things that you can't use until you stuff it with overpriced components. You are paying for the "fact" that your machine has the "ability" to get significant upgrades like 1.5 TB of Ram, 4 TB SSD, 4 x Vega's etc. If you need to "save" money for the base configuration then good luck with the rest. It won't happen. Stop looking at it. The iMac 2019 right now is the perfect balance for almost any content creator that can't afford the new MacPro. iMac Pro is also overpriced for the majority of users. I' am working with iMacs and FCPX for the last 10 years as a full time video editor for TV shows. Every 3-4 years i am selling my iMac and getting the next one, so the actual cost for every upgrade comes to 1500 to 2000 euros. FCPX is a truly unique and reliable application and yes i have worked with Premiere, Vegas and Resolve before. You have to actually "work" with an application and not just "test" it to make conclusions. If you are editing 10 min highlights or low budget commercials then all of these work just fine but wait until you need to edit a full length movie or a 2 hour documentary to see how the app reacts to this massive amount of data. FCPX is "rock steady". Period. A "slightly" upgraded iMac 2019 with Intel Core i9, 1TB SSD and Vega 48 (plus user upgraded RAM to 32 GB) will cost you about 5000 bucks. Is this overpriced? Of course it is. But it's also much faster from the base configuration of the cheese grater and you get a great monitor plus peripherals. Is it upgradable? Of course not. But nothing is upgradable nowadays, even this cheese grater. In about 5 years from now, this badass Mac Pro 2019 and it's tech will be totally obsolete and in 10 years from now that fu*^%ing bul*&@t Afterburner (that i am sure it will cost 10.000.000 dollars plus tax) will be sold for 100 bucks in ebay.

I don’t see why some seem surprised. New top end professional Macs have always been expensive. Pretty much always over 5000 in today’s money if not a lot more. Hopefully prices will come down in time and there will be more options. As there has been in the past. This is a computer aimed at professionals. It is good to see Apple going for the serious pros rather than prosumer or gear nerd. It’s a beautiful machine. I would love to have one but it’s not for me that’s for sure. An iMac Pro is basically a throwaway. The initial cost for a Mac Pro will be high initially, but cost will come down as the computer is upgraded over time. That makes a difference in large institutions. Of course there are PC’s that are good value for money. But they are not Mac Pro. Apple has little competition which is why they can charge what they do. People have always attacked Macs for having component Y or X that cost Z and “it’s a rip off” bla bla blah. I’ve heard that literally for decades. And yet, I have yet to work with a better performing computer. I will never understand how some are offended when a camera company, or whatever, releases a product that isn’t for them. The Mac Pro is right for someone, and if it isn’t, the product won’t sell. Simple. Unless it’s some sort of conspiracy! Which is what some resort to with an almost incel-like tone at times. To ridicule those who need for example an EOS R or a Mac Pro, or whatever controversial thing it is, can be a sign of personal insecurity I believe.

Yes we'll continue to hook laptops up to third party displays. Or be stuck with non-upgradable iMacs. Apparently Apple forgot about us and went after Sony Pictures instead!

I’m pretty sure S1H has IBIS from talking to Panasonic rep, not a definitive yes, rather a ‘I can’t say but I’d expect so ?’ answer I picked up an S1 for £1750 at a store open day, and free V Log! Awesome camera. I’m just using Voigtlander VM 35/1.2 at the moment. Amazed how good the IBIS is compared to A7iii I prefer S1 to S1H I think, 10 bit 4K 30p will do me and the camera is smaller without the vents. To be fair, the 8 bit codec already looks superb, 10 bit is a bonus.

OK, so I finally got some time today to shoot a few shots with the PL 50-200 I received a few weeks ago. I'm very pleased with this lens. Everything shot in 4Kp24 at 150Mbps LongGOP in HLG on GH5S.

Shot this one with my X-T3 in April. I was happy with my Samsung NX1, but X-T3 is way better (except battery and grip). Filmed with anamorphic lens Bolex Moller 16/32/1.5x.

Let's hope they don't revolutionise editing too much. FCPX magnetic timeline anyone?

Also from dpreview: ”The internal capture is 8-bit at up to 100Mbps.” It's a shame, but seeing the kind of magic they worked with the d750:s low bitrate it's probably usable.

Definitely a CCD vs CMOS issue. I used to shoot a lot of Varicam (3CCD) back in the day and the colors were far richer and truer than RED.