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Hey guys I got my bmpcc6k last wk and finally got to take it out this wknd to do some test shots. Here are some screen grabs. I shot in Braw 6k & 2.8k mixing 23.98, 50 and 120 fps. Lens was canon 24-70mm L series. Also I had no ND so I had to stop down a lot and mess with the ISO to expose. These stills I colored in Lightroom. I’ll have the video edited and colored within the next wk or so. I’m really loving the look. Also below are the raw files with the colored ones side by side. I’m not a colorist but I tried my best to bring out the colors. ============================================================================================================

Dear friends, I hope you enjoy this forum like I have been. I got in touch with awesome people, making friends on this community. Had the opportunity to read and watch involving and exiting things about lens treasures and lowfi camera tech, about the love for no and low budget filmmaking. I will take a little break off of this forum and will create more, being without the interwebs. So, create and enjoy, my friends! Stay well and happy filming! Marty

If you want to use it in a humid environment get the mkh50. There simply is no alternative, if it needs to be reliable. i have MKH20/30/40/80/800/800 twins, I know what I am talking about. The mkh series has been designed to have trouble free operation in humid conditions. Just decide how much trouble the extra cost is if your 500 dollar mic starts acting out.

*Desert island The NTG3 would outlast the 5U in extreme humidity and RF. No mistake though, if I had to pick just one for the rest of my life, CMIT 5U

I got the edmika mount fd 35-105 f/3.5 back. I will take some more pictures and videos and will update them soon. New photo taken with Edmika Fd 35-105 F/3.5, Looks like some of the bugs ate some of the berries while I was gone. ?

I’ve used this: https://www.youtube.com/watch?v=gKEv02ALtNY A gaffer I worked with recommends mixing the magic gadgets with a light that’s always turned on (once the "fire" starts) but dimmed way down. If it’s just the magic gadget it will look too obviously like a single pulsing source. You can add a few magic gadgets at different strengths and different speeds or with orange/yellow gels of different color/intensity. Fire is somewhere around 1800K-2500K I think. Tungsten lights are closer to 2900K so you can use orange gels to get it more orange. Or dimmed down tungsten bulbs are more orange already. But gels are most flexible in my experience. You can use a regular dimmer or one like this: https://www.amazon.com/Yescom-Variable-Controller-Settings-Hydroponics/dp/B00U3LD1WA/ref=asc_df_B00U3LD1WA/?tag=hyprod-20&linkCode=df0&hvadid=198107334619&hvpos=1o1&hvnetw=g&hvrand=8937789165355064762&hvpone=&hvptwo=&hvqmt=&hvdev=c&hvdvcmdl=&hvlocint=&hvlocphy=9001876&hvtargid=pla-351845451838&psc=1 Or use a few of these mixed with one tungsten source with a gel or tungsten balanced LED with a gel, and have that source be soft (the "ambience" from the fire) or even bounced: https://www.bhphotovideo.com/c/product/1437657-REG/luxli_orc_viola_m2_5_rgbaw_led_light.html/%3Fkw%3DLUORCVIOLAM2%26BI%3D225%26ap%3Dy%26smp%3Dy%26lsft%3DBI:514 On a bigger budget, the magic gadget is a better choice imo. But not too different. Of course you have to plan and time it all up. Coordinate the effect on set with what's going on in post (in your head and then in post). A heat haze effect helps, too. Video Copilot has a pretty good one and it's cheap. I'd be wary mixing real flames and fake. Difficult to match the levels or control them. And you're working with real flames. But if you can pull it off, that might provide the most realistic effect. In my experience, if flames are the light source, they're really going to blow out so sometimes it's easier just to add them all in post even if it doesn't look 100% real. The flames are going to be a lot brighter than the rest of the scene, which will be underexposed, and that's tricky to expose correctly but if you add all the flames in post and use power windows on faces and whatnot it's not so bad imo. Fog elements help, too. Use screen or add transfer mode for the flames imo. That reference vid is comped pretty well imo and the elements look good from that vendor. Shoot and comp tests if you're unsure.

You want feedback on them? Place a linked output channel speaker within range of the pickup pattern, that should do the trick ?. I'm here all week (unfortunately).

Yes I meant XT-3. One of the issues I'm having with the Z6 is that so much of my work ends up on a 2048x858 Theater Screen at 24 fps. I'm a Theater Manager in Massachusetts and that is the format that we display our preshow and some mini documentaries which is the majority of the content that I create. So currently I'm shooting 4K on my Z6 and have to change the format from 23.967 to 24 for everything I do. Small issue for most people, but annoying for me because I have to do it constantly. (Side note: people defending Canon for leaving it out of their new body, I can never even consider using that camera because of the lack of 23.967.) So the XT-3's internal 2048x1080 24p and good audio is very appealing for my weekly work needs. We'll see how it performs after some testing on my end. My main worry is the battery life on the camera. Hated the A7rII's battery and how often that was an issue with it. Thankfully the XT-3 you can power through the USB-C port, so I'm hoping it will be less of an issue. Have 4 paid shoots on top of work related material that I need to shoot in the next two weeks, so I can really see if it fits into my workflow. Really it's about being able to do my job and shoot fast, getting the coverage I need and deliver. Camera brand should be secondary to that, otherwise it is just playing favorites. I would be looking into the panasonics as well, but m43 sensor is to small for my liking (will be using this camera for stills as well) and the new full frame bodies are huge and the glass is lethally expensive on them.

Audix or Neumann, but Neumann needs a little bit more gain. I am using the Audix for a very popular TV series. Do not bother with anything cheaper.

I have the CK93 and Audix SCX1-HC. Got both used, I think CK93 for $200ish and SCX-1 for like $240 or something. I am not a pro, but the audix sounds a bit fuller and I like it more. I also like it more in the comparisons I've heard online. From what I read, on axis it's pretty close to the schoeps. KM-185 sounds sweet too but always sells for $600.

For 2 years now I use a KM185 on a MixPre3 for the indoor sound of my shorts. It's perfect. No change forecast for a long time.

Hi, I just purchased a C200 for a documentary and I'm looking for a super/hypercardioid microphone to pair it with for indoor interviews. Basically, there are three categories of microphones: - Entry level ($100-$200): Samson C02 and Oktava MK-012 - Mid-range ($500): Audix SCX1/HC, Audio-Technica AT4053b, AKG CK93, Neumann KM 185 - High-end ($1200+): Sennheiser MKH 50 and Schoeps CMC6 MK41 I cannot justify the high-end microphone option after dropping big bucks for the C200 but I don't want to go on the cheap route neither because audio is often overlooked and bad audio rendering can ruin an entire project much faster than poor image quality. Therefore, I'm going to go for the mid-range option which is enough for my project. I'm inclined to get the AKG CK93 because I like this brand (great headsets) and the price is right ($460). This mic is also modular (the capsule can be switched to shotgun). But the other brands also seems fine. Question: do you have any feedback or experience with these microphones? (Audix SCX1/HC, Audio-Technica AT4053b, AKG CK93, Neumann KM 185). I would love to hear your experience, good or bad before getting one of those. Eventually, I'll probably try them (thanks to amazon return policy) and decide which one is right for me. Thanks in advance for your help.

Probably lots of us do camera tests, but who does experiments? Like, make a film: using only one lens (or with that crazy lens) only looking up / down with no people with only people walking away with only peoples faces only close-ups non-standard compositions (mostly sky and everything in the bottom quarter of the screen) multiple shots at the same time (eg, like Sliding Doors, or 24) strange speeds, like all footage is sped up or run backwards nothing is in-focus no dialogue dialogue without any pauses in-between start with music or soundscapes you've never worked with and shoot something to match them etc and by 'make a film' I just mean take a bunch of shots and put them together, it doesn't have to have narrative or anything. I guess in a way these might be experimental or even abstract films. I'm thinking about doing more of these myself, just to do things and see what happens. Explore new angles and ideas. Learn how they feel and what they do. It's only trying new things that we can find things to add to our normal style.

I always love your ambitious posts and plans, Kaylee! I wouldn’t even attempt something like this at my level but I always believe you’ll pull it off. Are you using your 5D3 for this or is it part of the iPhone project you’re working on?

If I were stranded somewhere... I wouldn't mind it being a dessert island. ? Think how Tom Hanks would've looked after all that time! His buddy wouldn't have been Wilson... it would've been Häagen-Dazs. On the topic of audio and islands... Bear Grylls is back with: https://www.channel4.com/press/press-pack/treasure-island-bear-grylls-press-pack . They have 'hidden' audiopacks in the shoulder bags they're carrying. With the show Naked and Afraid, they seem to have put 'em away in the necklaces. Just a weird sidenote. ?

Blue content on phones, screens, TVs, Dark blue clothing in direct sunlight Blue LEDs etc

Probably the CMIT will have humidity issues on a desert island! https://jwsoundgroup.net/index.php?/topic/33548-cmit-5u-in-humidity/

If i remember correctly there is an email address for bugs, but i am not sure. But yeah, blackmagic forum will almost certainly be better than here, there are likely other users with the same issue.

The Oktava is great budget mic so long as you don't move it around, very sensitive for handling noise - would be ok for interviews, the Rycote babyball gag helps. The at4053b is a lovely sounding mic and more forgiving when on a boom. I also have the ntg3 which as Sage says is best outdoors but surprisingly good indoors if the space isn't too reverby

I was making a lame joke about 'feedback'.

Matt Allard has given a pretty underwhelmed first impressions piece on Newshooter. Yikes! https://www.newsshooter.com/2019/09/09/panasonic-s1h-footage-first-impressions/

Well, according to the item description it should allow you to achieve infinity focus.. Without more data there is nothing more I can suggest, unfortunately. Good luck and keep us in the loop!

I've got an Audix + MixPre 3. I used to work with a group that used NTG3 inside all the time. I had a chance to test them side by side; My impression was, as crazy as it sounds, that the NTG3 was a better choice, even inside. This is madness, and I was the one always pointing out they should have a hypercardioid. Over the years, there was a single occasion (of 1000s) that I remember the NTG3 distinctly failed, due to reflections. This specific scenario was a man with an incredibly deep and booming voice, facing a corner with two massive windows. I remember thinking it would sound incredible, but it was completely hollowed out and thin, unlike every other time with the NTG3. The frequency distribution and effortless richness of the NTG3 was simply preferable to the Audix, tested indoors. This is not a mark against the Audix, which has incredible sound of its own, but rather my surprise at how good the NTG3 was. One could get them closer with an EQ, but there was one radio guy's voice that I just couldn't match. I feel the MKH50 is the 'spiritual brother' of the NTG3 in hypercardioid land ('blockbuster' sound). Audix is like a cheaper option to the CMC641

I agree. In the 500-600 range Audix is the way to go.

Really hoping soon, but not expecting. On the GH5 it took quite a while until the issue has been fixed. Let's see what happens. Need the camera in late October for another big project in Ghana...

During IBC in like 4 or 5 days

I'd rename those three categories instead as: Standard Pro Gear: Indie / Prosumer Gear: No Budget Gear: I'm still annoyed that I missed out on a KM185 a couple of years ago for US$400 ? I've heard the same as well.

I hear a lot of good things about the Audio-Technica AT4053b. If I needed an indoor shotgun mic that would be my pick. If money grew on trees - Sennheiser MKH 50 P48

I love the CK93. The only other mic from the list that I have used is the KM 185, which I did not like as much. I have heard that the AKG shotgun capsule is not good, though I haven't used it. In some very limited tests, the omni and cardioid capsules sounded fine. I found my CK93 for like $240 on ebay. I wouldn't pay full price unless you really want it brand new.

Xiaomi from 108MP ISOCELL Bright HMX by Samsung? ; ) Sorry, couldn't resist! LOL ; -) This September... : D

FS5mk1 is already US$2K ish on eBay secondhand It is one of the factors which is putting me off buying a FS700, when a FS5 is only a little bit more.... Perhaps not $15K cameras, but tonnes and tonnes of shooters are buying cameras for around $10K ish or a bit less (like FS7/C300/C200/VaricamLT/EVA1/etc) and putting stills lenses on it.

You could record to a Tascam DR-10L which is one of the smallest recorders (you get dual backup recording as well, at -6db or -12db) and get the audio from the headphones output to the Go. That would make a very small and affordable recording solution, I can't think about a smaller recorder with dual recording. They already come with a lavalier, but if you already have a good ones you can sell them and it'll be cheaper. The tascam DR-10C comes without the mic and has a signal pass through but you can't get it in the US. For the budget you can't go wrong, I wouldn't trust on any affordable wireless transmitter receiver without a backup. Actually you could just record the whole thing ONLY with the Tascam DR-10L but you wouldn't be able to monitor the audio. It's really small and you can clip it to a belt or whatever:

It is extremely versatile. Used it all the time with the GH5 for various projects and even on main TV networks. When you can use just one lens this one is the real deal. Read this: https://www.lenstip.com/497.11-Lens_review-Olympus_M.Zuiko_ED_12-100_mm_f_4_IS_PRO_Summary.html Haven't used it with any P4K yet. I hope I will soon. My EF-S run n gun is the 18-135mm, this Olympus is a lot more versatile, but a lot more expensive also!

I’m waiting for Canon to give me a reason to shoot with their cinema line. Eventually, I’ll buy a C200 because a lot of the pitfalls of the camera will be irrelevant for me, especially once the price gets at/below the $3000 mark. However, their lower tiered cameras and the features they do, or do not offer, just doesn’t make sense. In fact, the specs are so odd, they almost seem arbitrary. I hope they do and deep discount the current models. The FS5ii with its Venice color and external Raw would be pretty damn tempting at $2999. That would allow them to price an FS5iii at $4999 and the new FX version at $6999, give or take. That’s a really good upgrade strategy. Probably not with the FX series since they’ll most likely be priced for different shooters but I’m sure the FX cameras will have something obvious that Canon should have included into a $16,000 camera.

Imagine what this would do to the next cheap camera challenge!!

I am completely not interested in pro cameras, $10,000 stuff. EOSHD is not about this shit! Although it does explain why we have no a7s iii. Internal Sony politics. Oh well, it exists... Better get on with using my 10bit mirrorless cameras from other manufacturers. Yes absolutely agree... Pick one of these up for ten dollar!? Yes please! A bargain for 100% of this forum ? At $10,000 it is a bargain for 1% of this forum and 99% of the Cinema5D forum... Although the latter doesn't seem to exist any more ? Too inconvenient!

Trust me, if you would've shot this in V-Log you wouldn't even be able to recognize her face. It's that bad. Thinking about getting rid of my S1 already again - it's unusable in many situations. Even applying a yellow gel on a LED light causes posterization. Blue shirt in sunlight, clipping. Etc...

I get the same clipping in HLG. i can lower it a bit in post but is terrible when you have that blue points all around :(

Well I thought I’d give it another go and repurchased another set. But with a caveat and that is I am double-backing up audio and only using the Go as an actual lapel mic (rather than in pocket with lav mic) or attached to a lectern in direct line of sight. Excellent speeches last weekend, but less so Ceremony when granny doing her reading stood in front of the lectern and not behind it as 99.999999999% of all human beings would. And then spoke in the quietest voice in human history. Weddings... ? (Backing up as in I have 2 other Sony audio recorders, sometimes with shotgun mics, nearby either table top, fastened to something or velcroed to a wall!)

First test on my S1 with V-Log

Am definitely going to listen to this

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

My husband's GFX100 arrived yesterday for his studio. In a very short test I did, I found it to be sharper than my BMPCC 4k (its native Fuji lenses are very sharp, they resolve a lot of detail). I honestly don't think I need even sharper or whatever "better" Fuji thinks it can give us (better color/midtone detail sure, but even sharper details heck no). I had to soften the image in post by a lot to make it look anywhere near cinematic. There was a reason why Alexa was sitting at 2.8k resolution for the longest time before Netflix forced them to make a 4k camera. For true traditional cine stuff, 4k is enough. I personally have no plans on updating on 6k/8k any time soon, not even when 8k TVs might be commonplace. I end up softening my 4k clips in post by either Panasonic or BMD, but the GFX100 required a lot more (f-log). If you're after super crisp, commercial style look, that's your camera.

Thank goodness! I've been waging a one-man war against that nauseating soap opera "smooth motion" fake image interpolation-look on various family, friends', hotel's and even the occasional restaurant's TV sets for years. The saddest thing is when people claim they can't tell the difference. I can't stand it.

It's not going in any pocket but with the Ikan it's starting to be quite slim.