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First test on my S1 with V-Log

screenshot from a film I am now editing. Halfway the hike in Austria the SSD from my Ninja V was full, so I stored new footage on SD card. In Premiere CC I edit both and Ninja files are faster to render than H265 from card....

I have never really used 35mm (FF angle of view) lenses very often, not something I every really wanted I guess and my only lenses that covered that are/were zooms. I have never got what many saw in it to the point some use it as their ONLY lens. That said, I have started putting my ancient Canon FD 24 1.4 L on my little APSC (1.5x crop) Sony Nex and I think I am really going to like it. I do like it on FF at 24mm but I think it will get used a lot more now on crop. Way too shallow DOF close in for video for me at 1.4 or even f2 I think but fine for stills and stopped down will have its uses for video. I should have stopped this down a bit I think.

I think for $199 to get any kind of quality audio out of a wireless kit is going to be your base level of expectations. And Rode is not a stamp of approval for quality, as they've made some solid low budget projects but they can certainly be a bit hit or miss with sometimes cost savings really showing. Just do it! Be polite and professional about it, and explain how it is for her benefit to fully capture all the emotion of her special day.

Bravo. That looks wonderful, want to see more...

It's frustrating to see Mokara make the same argument over and over again despite all logic and reason. Canon left out 24p in their lower end cameras because they wanted those users to spend more and/or invest in the new RF mount cameras. It really is that simple. It's a calculated move where they've decided that the rewards outweigh the negatives. Casual users are unlikely to care or notice, which is the only thing Mokara is correct about. Enthusiasts/low budget filmmakers will either pay up for more "premium" cameras, because of brand loyalty or the amount of money they have already invested in Canon gear, or they will move on to a different camera system. From a purely financial standpoint it makes sense, because unless their sales absolutely tank, they'll end up making more by forcing people to pay more for the features they've always had, even if a percentage of users abandon Canon. They've probably calculated those customers were at risk of buying different cameras anyway. But by removing 24 fps from their new sub $1,300 cameras they've given you two choices if you want to stay with Canon: pay up or buy up the remaining inventory of soon to be phased out cameras that are collecting dust in warehouses and store back rooms.

Hope it's true, if only to get a cheap FS5 mark II

In the end, we never stop talking about these suckers across multiple threads, so I'm gonna try to compile as much information as I can into this one. As in most cases, diopters are cheaper than anamorphics, I ended up with a lot of them, from multiple brands and multiple performances. The key was never go where everyone else is trying to find. Got the classics too, but that was luck. Anyway, let's go to the undeniable favorite: Tokina +0.4 Achromatic diopter. My only complain about it is: why aren't you bigger?! My first lens was the LA7200 and I took quite a while to find the 105mm. The next lenses all had different thread sizes. I could filter the Hypergonar on 77mm or 86mm, the Kowa with 72mm, Sankor 72mm too, Isco 54 at 95mm or 86mm and had a plan of an alternative 86mm front for the Lomo Squarefront, which didn't go through. Anyway, if I started to look for all these sizes of diopters, I'd go broke. My salvation were the Series 9 filters. If someone isn't familiar with these, they come as unthreaded glass, that you put into an adapter that can range between 67mm and 86mm. That pretty much covers all lenses. I got adapters for 72, 77 and 86. The glass itself has around 83mm diameter. Tiffen Series 9 filters are not in production anymore, so you can pick them off cheap ($1-10), even though they're not so common. The adapters are a bit harder to find. After that, I went crazy on other brands as they showed up with decent sizes. Got 77mm Spiratones +0.5 and +0.25 for $6, 86mm +0.6 Fujinon, 72mm +1.25 Fujinon, 95mm +0.25 Pentax (for the 135-600mm Pentax Zoom), 82mm +0.75 Canon (1300H), etc, all very cheap. Some of them are real heavy, and I don't know if they're achromatics or single elements. The advantage of the bigger ones is, less vignetting, even when you go wide, and, the sharpness is increased, since you don't get corner areas. Finally, I found a couple 4.5" ones (around 114mm), that require special adapters, like Series 9. These adapters are impossible to find! I'm making a couple myself, as I trust threads more than tape. :P EDIT Dec 07, 2014 Why Look for Low Powered Diopters There's a common question going around, of WHY fraction diopters are better than full numbers, so I'm addressing that here too. Rich has a good explanation too >here. As you can see below in the math section, the numbers correspond to certain maximum and minimum focus distances. When it comes to anamorphic lenses, what is the most common minimum focus distance? Something between 1.5m and 2m (or 5 to 7 feet, imperial scale). Iscoramas have 2m minimum focus. Kowas, Sankors and most dual focus projector lenses are set to 1.5m minimum focus. For most shots, this distance is greater than the distance you want to put between the camera and your subject, which leads to being unable to focus properly - also, it's a pretty messed up distance for working indoors. What a +0.4 or +0.5 diopter does is turn this "near 2m minimum focus distance" into "near 2m MAXIMUM focus distance" (see math below, seriously), allowing you to frame and shoot freely indoors and much closer to your subjects. If you want extreme close ups, then you need to have stronger diopters, but a +0.5 is a key tool for "standard" shots. Achromats are also better, but they have their own explanation below too. Focus and Anamorphic Compression Another thing that relates directly to diopters is the lens compression. Most of our 1.5x or 2x stretch lenses only have that proportion when focused to infinity. Things change when you twist the focus ring. As you get closer to minimum focus, the less compression you have. 2x lenses tend to go towards 1.7x or 1.8x, Iscoramas get very close to 1.3x. When unsqueezing your footage, this compression disparity can make shots look different from the rest of the footage, as if it was shot with a different lens. In a technical level, it really was a different optical path. Using diopters you get rid of using the shorter distances on your focus ring and keep your compression constant throughout the shots. DISCLAIMER: I don't know how this relates to baby anamorphics, and this CERTAINLY does not affect focus through lenses since you don't change the distance between the anamorphic elements. //EDIT. Strength measuring: Fujinon: The first number is their maximum focus distance, the second number is the thread size. For example, a 16086 reaches 160cm at infinity (+0.6) and has 86mm thread. 190101, 190cm at infinity focus, 101mm thread. Canon: The newest series (250D and 500D) measures in millimeters their maximum distance. 250mm equals +4 and 500mm equals +2. The "D" stands for Double element. The older ones use the same measuring, 1300H = 1300mm, +0.75. There's also a 900H, 105mm, which is a like +1.1. When nothing is marked on it, good luck with testing the thing. It's usually not hard, but most of them have information lying around the web. Thread size: As well as regular threads, some are marked with a C after the number (mostly 86C, 95C and 105C), that means the thread on this filter is coarse, 1mm pitch. Our regular (fine) threads have .75mm pitch. There are adapters for these too, like the one below, from 86mm fine to 86C. http://www.ebay.com/itm/350325079425 Minimum and Maximum focus distance: Just realized that I haven't explained the math relating diopter strength and maximum focus range! Since most anamorphics perform better when focused closer to infinity, a diopter gives great help in "faking" it optically. A close up filter "sets" infinity just a couple meters/feet away, so anything BEYOND that certain point will be IMPOSSIBLE to focus. Of course, this will NOT follow the lens' focus marks. Infinity on the lens now equals the diopter maximum focus distance. Now, the numbers: S = diopter strength (+0.5, +0.6, +1, +2, etc) MaxFm = maximum focus distânce, measured here in METERS MaxFm = 1 / (S) Ha! I bet you expected something waaaay more complex, right? Some examples are never bad, so let's get to it. I'll use +0.5, +1.25 and +2 as sample strengths. MaxFm = 1/(0.5) = 1/(1/2) = 1 x 2/1 = 2 meters MaxFm = 1/(1.25) = 1/(5/4) = 1 x 4/5 = 0.8 meters MaxFm = 1/(2) = 1/2 = 0.5 meters If you live in a country where imperial scale prevails over the metric system, you just gotta do a quick fix to the expression. S = diopter strength (+0.5, +0.6, +1, +2, etc) MaxFf = maximum focus distânce, measured here in FEET MaxFf = (3.3 / S) Same examples from above, now in feet MaxFf = 3.3/(0.5) = 1/(1/2) = 3.3 x 2/1 = 6.6 feet MaxFf = 3.3/(1.25) = 1/(5/4) = 3.3 x 4/5 = 2.6 feet MaxFf = 3.3/(2) = 3.3/2 = 1.6 feet Regarding minimum focus distance, I'd say anything closer than half maximum focus distance is gonna look pretty bad already. With high power close ups (+2 and up), I'd say anything closer than 3/4 of your maximum focus distance is gonna be pretty bad already. Of course, this "minimum focus distance" image quality has A LOT of influence from the anamorphic. Also, achromatic diopters will improve almost everything you could imagine. Since I've just mentioned them, here's a list of achromatic diopters, with their strength, manufacturer, price range, etc. http://fuzzcraft.com/achromats.html Price range: Just for checking, here is a list of the most common lenses and their outgoing price. Tokina +0.5 72mm - $150 Kenko +0.5 72mm - $90 Tokina +0.4 72mm Achromatic - $350 Kenko +0.3 105mm - $350 Canon +2 72mm Achromatic - $100 Sigma +1.6 62mm Achromatic - $20 Angenieux +0.25 82mm - $330 Kinoptik +1 82mm Achromatic - $530 Foton-A +1 or +1.25 - $900 (GONE!) Tiffen +0.5 to +2 138mm - $50 and up Tiffen +0.5 to +5 Series 9 - $1-50 Tiffen/Kodak Series 9 Adapters - $20-40 Tiffen +0.5 to +2 4.5" - $10-50 (RARE)

We shot this as a two man crew over two weeks in Georgia. Was a whirlwind shoot driving up mountains to track down nomadic sheep herders and trying to get access to shoot in Orthodox churches and dance clubs. This is what we came up with.. would love to hear what everyone thinks.. we took a different direction on this piece than we normally do.

Personally, if I'm going to purchase a new camera and I had the budget, I'll go with the Pocket 6K. But I have invested in MFT lenses and they still serve me well. I have seen a side by side comparison of shots with the P4K and P6K and the P6K is def better. But if you remove the comparisons, no one's going to complain that you shot with a P4K, or Sony (unless they see the jello rolling shutter), as long as what's shown provides value to viewers. But I'm still dreaming of owning a P6K

Thank you for sharing, this is beautiful ! Could you share some advice on how you exposed VLOG (zebra etc.) ? Thanks !

well dammnnnnn!!! That will lead to big price falls of secondhand FS7 cameras, which will tempt me once again to buy them! Sony is still there, and has been for a long time, the FS7 just can't be beat. But smart of Sony to bring out the next gen now before the FS7 truly becomes far too long in the tooth and gets finally overtaken. That is an interesting and logical theory. The FF cinema cameras won't be the end of the S35 cameras from Sony, they'll likely launch a FS7mk3 with a S35 sensor at an affordable price? One can only hope! (if you're a S35 fan) On the high end VENICE will smash the C500mk2, and on the budget end the FS7mk3 / FX9 will dominate instead of Canon. C500mk2 will find itself squeezed in between those two options, with no room left to breath.

@Mako Sports inverted cinemascope ratio lol

yes, while the Canon C line has DPAF its limited to just the center point iirc. This would put Sony way up front.

In other words, just do not underexpose it that much!

The big advantage to Sony would be the new model will have their latest AF tech which is really good. Also speedboosters

Hi everyone ! I wonder which profil you would use for very lowlight situations (in fact, night shot of northern lights, between iso 12800 and 51200) ? CineD seems to be quite good in lowlight. Right now I'm trying HLG, an I will compare it to CineD. I have never played too much with LOG, so S1 + VLOG is my big first. I already understand that I won't use it in lowlight (I tried, to test ? ). Ah sorry, I do not have the opportunity to do that. I'll share some stills this week-end, maybe it wilk help you.

You don't get something for nothing... I bought a 2nd hand Sony UWP dual wireless kit and have never had an issue.

I am a pro sound man of 20 years and I didn't call anyone stupid. 200€ in sound is the lowest of the low and the expectations are low too. I own 5 Samyang lenses for my lesser projects, but when we shoot better ones we rent. I do not expect my Samyangs to be Cooke quality and I do not complain that they aren't. I just bought a Sachtler Flowtech with an FSB for my small cameras, I also own Manfrotto and Benro tripods, guess which one is better and why I had to spend 4 and 5 and 6 times more money.

The era of Raw is around the corner, now that Nikon is implementing it others should follow I know this has been said before but id rather more DR than pixels

Each lens is profiled to calibrate real distance and focus position. The camera's internal AF is bypassed completely and the lens is operated as though it were under manual control which allows instant switch or ramped changes as it is tracking. In terms of manufacturers making it better, then Panasonic et al will implement this in a different way and will definitely improve on it by virtue of having far, far smarter people than me involved in its development and having far more of them. In terms of speculating how they will do it internally whether its incorporated into the sensor itself or as part of the image processing pipeline through AI then they could go either way really. I've mentioned a couple of times in this thread that what I've shown thus far is very much a jumping off point for this and by the time the commercial product version of it becomes available in early 2020 it won't have changed conceptually in terms of it being an outboard system that can be added to different cameras but how that is achieved will and, without giving too much away at this stage, already is changing. I'll drip a couple of things into this thread between now and then.

all of the latest Sony bodies have significantly better looking skin, not just the Venice. (RX100mk6 and Mk7, FS5mkii, A7iii, Riii - R4, RXOmkii etc)

Good to see they are finally adding the A9 autofocus. They will have the best/most versatile autofocus for cinema/ILC video cameras

New picture taken with Canon T2i, OM 28-70 F/2.8

I've liked Canon and Panasonic in the past but if this has A9 AF and Venice color it's game over.

So glad @androidlad posts on this forum.

XQD/CFExpress cards are much more robust than SD cards. I've had many a SD card physically break. Granted, all the premium ones come with pretty great warranties. That said, I prefer the XDQ build quality to that of SD cards. I think it's better to have one XQD/CFExpress slot than two SD card slots, because I feel the former is probably at least twice as reliable.

I always wondered if I would ever be able to laugh at a 9/11 joke.

DaVinci Resolve Studio 16.1 public beta 2 released • Support for Fujifilm F-Log colorspace Now it's possible to use RCM and make color grading without LUT. 1a : F-LOG 1b : Color space F-Log+OFX tone mapping simple 1c : Simple adjustments expo, contrast and auto WB.

Here is a music video shot for the musicbed challenge. On this project my assistant is the director and I help her. Shot on my XT3; F-log, 4K DCI, 24fps, 400 Mbps, All-I. https://challenge.musicbed.com/submissions/the-rise/rHvFZz

Renting the XT-3 this upcoming week. Smashed my Nikon 24-70 that I use on my Z6, and it's potential replacement cost has me reconsidering my whole setup. Nikon Z Lens Kit: $5450 Nikon NIKKOR Z 24-70mm f/2.8 S $2,300 Nikon 70-200 Z Probably at least $2300 Nikon 35mm Z $850 Fuji XT-3 Lens Kit: $3250 ( I know I would not get the same look, but coverage right now is more important.) Fuji 16-55 2.8 $1200 Fuji 50-140 2.8 $1600 Fuji 23mm $450 Not to mention Fuji's cheaper and much lighter primes. We shall see....