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I haven't really posted in this group much for awhile, but the launch film I created for the Mavo LF just dropped today. (It was playing at the Kinefinity booths at NAB&CineGear but it finally came online today). Article I wrote on NoFilmSchool but the film's more important - took me about a year, ha. I've always wanted to create something vaguely sci-fi. Happy to answer any technical questions, too. Cheers.

Tossing some more love towards my favorite lens Voigtlander 40mm f2. Video grabs from D750

Thanks. I haven't done anything like that but today someone showed me this pretty detailed comparison of the full-frame cinema cameras: https://www.agdok.de/de_DE/kameratest2019-en

Hmm, that's not a dark environment, the table on the left of the frame is almost blown out. Maybe this is a better example of what you're trying to get at. Dark scene, but you can still see the expressions and intention in the performances.

Been a while since my last upload, been too busy!

So is the Arri a "bad camera" now?

I don't trust Max as far as I could throw the little fucker.

I haven't watched the video and probably won't ever. Is the poster frame a complete fake? Oh yes, thought so... he's edited it to be more extreme. Clickbait bullshit.

Sony won on the comments and I agree. Sony has picked up the pace as of late like it or not. They are not the leader on video for no reason.

It is a completely different look, am sure is not at all what the director wanted the mood of the film to feel like.

I would assume if it made it into mass production it’s for the production of products mostly likely professional cameras. EDIT: looks like misty industrial applications. https://www.image-sensing-solutions.eu/Sony_GSCMOS_Industrial_Camera.html

It's kind of funny that to really make the Pocket 4K work well, it usually ends up looking like the Ursa.

it is completely irrelevant ... it was chosen instead of Mavo! CADRAGE DIRECTOR'S is a App... https://www.cadrage.at/ I'm on your side, I was saying the same thing but bringing Zcam (similar to Kinefinity) ... even though it's still in preproduction, but it should have prices for our pockets .. E2-S6: s35 6k ....--- $ 2995 E2-F6: Full Frame 6K ...--- $ 4995 E2-F8: Full Frame 8K ...--- $ 5995 http://www.z-cam.com/zcame2/

Some screen grabs from the big boy toys. Hopefully the Panasonic S1H will benefit form the same CS. https://issuu.com/varicam/docs/shotonvaricam_5?e=29139654/70210005

CS is probably not as big of a worry though if you are shooting RAW. Too bad there isn't a magic lantern hack for the C100, that would be insane. The 70D seems like a really good choice right now. RAW with Canon DPAF for $300-$500 used.

Yeah but i think some of the older Canon cameras, even the cheaper ones have a better CS to me than the new ones do. At least for what we like to shoot. I would much rather have say a C100 mk II over the original for features, but I think at least for the output I like the mk II is a downgrade not an upgrade CS wise. But I admit if I was a Pro trying to make money at it the mk II would be a better bet, even CS wise. That look is in now whether I like it or not lol. What I find with my EOS M is it is mostly up to the build you have how good it looks. And once it is on a SD card that card seems to be stuck with it like it or not. My biggest problem was the damn thing has 2.0.3 firmware on it and that does not seem to be the way to go. So I am going to try to downgrade it and start all over. I can't find a build using the latest firmware I can do the SD card hack with. And that does make a big difference duration wise on footage.

Well that is a frame grab from a Canon 1DC to show how much detail they have in 4K. But yeah I get your point. But your example Is lighted, and it makes a ton of difference using the Lantern. So that is a Great example. I know I bust people's asses on here, but I want to see people get better, learn to light and grade. This is more than just turning on a camera and let it rip. A person should never be in a hurry doing video, willing to do take 2, take 3 etc.. We ought to dissect every video and say this is great, and this is bad, and learn from it, not just take everything for granted. That is how we improve. Sure on average we are not going to produce top stuff, but if we don't learn we never will. Everyone wants to get better.

First proper video I've shot on the GFX 100: Didn't have much to knock this together, but the camera did a pretty respectable job, especially as the last two shots are at 2000 ISO. The whole video was shot in Eterna. Unfortunately, the DR+ profile did not seem to be functioning properly, so blacks were quite crushed in the captured footage, unlike what I was seeing in my histogram and external monitor. I'm optimistic that this will be fixed when we get production cameras.

A6400 firmware

As a long time stills photographer, and as I never sell gear, but seem to collect it, I have a huge inventory of film, bodies, lenses, accessories, of many differing formats. I wished more film was produced. Kodak pissed me off with their mis-managed disaster. I really miss film. Film can still be produced profitably, I think Ilford still makes prepaid yearly runs of ULF, I don't know why this can't be applied to any other format/type.

Yeah, it's not too bad. In terms of what is a toy, if a 15 year-old kid who saved up money from a part-time job they worked after school to buy this, they'd be confident they've gotten the best pocket camera that money can buy. When the cinematographer who still prefers to shoot IMAX large format film for their features, but is resigned to the fact that they are sometimes forced by practicality to use an ARRI Alexa LF, looks at a P4K (or even an UMP) they may very well consider them to be toy cameras. It's all a matter of perspective.

Part of me wishes somebody would just gobble up Panasonic, Sony and Blackmagic so we could have the perfect camera: Panasonic's body, battery life and ergos (don't forget flippy screen!) Sony's AutoFocus Blackmagic's color science

Spent some time tinkering with the S1 and I have to admit I really, really like it. Ergos are fantastic and holy cow the EVF is flat out amazing! Touchscreen and LCD are so good, and IBIS looks really impressive as well. The AF and lenses are the big drawback right now. I'm always on the move and I now wear glasses, not going back to MF, especially with modern fly by wire lenses. Though that EVF certainly would help. The S1R/H combo would be a mean one-two punch for someone like me that splits paid work between stills and video. But until the 2.8 trinity and the Sigmas are out, the L-mount is a no go for me, so no GAS ... for now. Plus I'll see what Sony brings this fall with the a7s3 and possibly more with some of the leaked sensors @androidlad has been talking about. But man the grass certainly is greener when you have that camera in hand... I agree with the video above, the S1H is a big deal when looking at the overall market. Newsshooter's interview says Panasonic brought cutting edge cinema camera tech to a hybrid body before the EVA and Varicam lines, and elements will trickle up to the next versions of those respective cameras. That's huge. Chris

Give a youtuber an Arri and see how they do... you'd probably think it's a bad camera afterwards as well .

That's why every one of us should ask Fuji for an open gate video recording - maybe they will incorporate it in some future update. I've already suggested it via https://www.fujifilm.com/contact/

That is pretty damn good footage from something people might consider a Toy camera.

I think that it's important to understand why you want to get into film in the first place. If you're looking to use film for the aesthetic of modern film (great colour, DR, infinite bit-depth lol, etc) then you'll probably want a fully automatic camera that is easy to use and you can easily execute your vision by controlling it like a semi-modern camera. If you want the aesthetic of vintage film because there's a surprise and (I think) magic in the imperfect aesthetic then you may not care so much about being able to execute your vision, but in a sense it's more a case of pointing it in the right direction and seeing what aesthetics come out, rather than what you specifically tried to put in. Both will (to a greater or lesser extent) give you the experience of using a film camera without burst modes or the ability to see the image until it's processed. For me the attraction was in the process being slowed down, but also in the kind of random magic that came out, even from the Tintype app I used. One thing I didn't mention about that app was that it stored the original image with removable changes on top, so you could revert it back to the straight image that the camera took, and I tell you, reverting to the original image removes 100% of the magic of those images. The beauty is in the horrific distortion. I would go out with the family to the beach and take maybe 20 shots (ie, went nuts!) and half of them would be keepers. The distortions in that app are almost a nostalgic art production-line. Almost anything looks great. Anyway, I'll stop now.

Too dark for my liking. But I guess they were trying to show off it's low light capability. But I think they went too far with it on a consistent basis..

Well it is from YouTube. But this guys videos are probably just shot with a GoPro. But it is the story that makes his footage happen. I have watched some of his videos several times and it is simple as hell what he does, but boy you just want to find out what is the mystery in the end. It just proves it is all about the story, not what it was shot with.

SLR Magic MicroPrime 18mm