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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

Instead of getting advice from other people about what would be useful for other people to buy, think about what would be useful for you by thinking about what you could have used in shooting past projects... They say that yesterday is the biggest predictor of tomorrow. Things change, but they don't change that fast. So, think about previous projects and what problems you had when actually shooting things, then think about what would be the best way to address those issues, and once you've done that for each of the problems, look at the ones where the best solution is equipment and only then think about buying something to solve those problems for you. I think everyone has bought something to solve a problem they think they will have, and they've ended up never using that thing they bought. If you buy something that will help a problem you've actually had in real life, then you've got half-a-chance of actually using it.

Excellent news! I was contacted by a Panasonic operations manager about this S1 and S1H blue channel clipping problem! He wanted me to be very aware that Panasonic has seen my video and they are very interested in this issue! I wont post my emails here but I will take one quote for you guys to see: "Rest assured that this issue has a lot of attention right now"....[from Panasonic] engineers. During this time, be very carefull about shooting in VLog. Outdoors should be fine. Indoors and night shooting are very prone to deep blue channel saturation, even on blue light that is not very strong. HLG will be the much safer bet for the moment. Lets cross our fingers that Panny will figure this out with a firmware fix.

If you are in Resolve, head over to Color tab, and Right Click on the area where stills are kept, choose Import Stills and select the file you downloaded. Then it's only a matter of applying it on your current grade, eg. using Middle Click on the selected still.

I can give you a little bit of info on the C200 as I just bought one after using it last week. The 8 bits footage looks very good. There is really something with Canon footage. The Wide Dynamic Range profile is very easy to grade if you don't want to go all the way to C-log 1 and 2. I probably prefer Canon 8bits footage than Sony 10bits. That being said, it might be a no go for broadcast situation. The lack of middle ground codec is huge dick move from Canon. Usual with this company. And don't expect to record 4k raw/10 bits with an external recorder as the SDI/HDMI out is limited to 2k. The definitive proof that Canon crippled this camera intentionally to protect the C300/C500 line... There is no 4k DCI in 8 bits. Only in raw Raw is very heavy (15 min per 128GB) and the Cfast cards are ridiculously expensive. This is also a dead media. The raw footage is nice but it needs a lot of work, it comes out very grainy and you'll need to denoise which adds more time to the already long workflow. The 120fps footage is crap, DPAF is not available in this mode Overall, the 4k footage is on the soft side. Not bad but don't expect to crop in that much. The C300 will give you the middle ground 10bits codec but you'll loose the 60p I went with the C200 because it's still a nice package for the price, the camera is relatively small with nice features such as strong ND10 and DPAF. I also have a lot of EF lenses. Low light is good. Perhaps you should rent one before buying it. The C100 is cheap but also cheaply made (eg. horrible EVF). I'm not a fan of Sony so I discarded the FS5 and FS7. The Ursa mini is not run and gun camera which is what I need. ISO craps out at 800. Finally the EVA1 was very tempting but it's not perfect neither (bad screen, no EVF). I'll try to upload a couple of 8bits video sample from my C200 when it gets there so you can see by yourself.

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.

@HockeyFan12 trynna wrap my brain around this rn. seems simple enough vfx breakdown

Surprised no one mentioned the Deity S-mic 2. V1 was poop but the 2 sounded pretty good from what I've heard, it runs hot and feels solid, sounds decent, priced well. Got mine used. The fur + foam takes off a bit too much of the high end, might want to replace that with something like Rode WS7.

One thing I experimented with was "Two panel Cinerama". Historically, the real Cinerama process in the 1950s used three separate cameras, locked together, and the resulting three projected images were brought together on a single ultra wide screen. The two overlapping edges were blurred by using moving combs to help fuse the presentation together. I did not hope to replicate all that stuff! As a simplification I used two camera positions, and in fact I just used one camera which filmed the two panels one after the other (two cameras would have been used for a "live" shoot). I had my camera display set for a "thirds" grid, and filmed the left side, then to shoot the right side I panned the camera on the tripod over by two thirds. This meant the image overlap would be one third in the middle. In post, I would first create a custom wide canvas (the exact dimensions were arrived at after some tests) and import the left and right clips. You can temporarily lower the opacity of the top layer a bit to help the line-up of both panels by moving one of the clips into position. A simple feathered mask (which you can animate over time) is used on the top layer within the third overlap area, to make a sympathetic and less obtrusive join line according to the subject. Yep, I realise all this sounds nuts (lots of restrictions compared to normal shooting), and I didn't do much with it, but it was fun. I messed around with this several years ago during the FHD era, but when I got an UHD camera, that canvas size seemed big enough to me to make 2-panel Cinerama a bit obsolete (you can mask it down to simulate an ultra wide look without much loss). One thing that it doesn't replicate of course is the wider field of view (just as using an anamorphic lens has a laterally wider field of view compared to just masking a 16:9 frame). It was quite interesting to shoot on a crop camera with say a 35mm lens but get a wide field of view by the two-thirds "extra" you get when you pan over to film the second panel.

I don't have enough experience with this Camera to answer at this point. I think there is no miracle. This is 8 bits footage, even with great Canon color "science", there is less latitude in post. I'm receiving my C200 tomorrow and I will shot a couple of video and put them on this forum with an upload link for the community, including low light and "complicated" lighting. No idea, I assume it's above 35mpbs. Would be surprising to get 422 10 bits footage with less than that.

I think those will work if they're bright enough. The only thing the gaffer said that I think is worth considering is you might also want a constant (non-flickering) dim orange source that's very soft/ambient or else it will look too high contrast and fake and also try to make sure the flickering feels a little random/offset. But that depends on the lights you're using. If it looks good as is it's fine. And fog/haze is good but consider adding it in post in addition or instead or else the bright areas will clump around the light sources. And be careful of front lighting smoke, can wash out the frame. Shoot some tests maybe but I think you'll make it work. Also maybe download a high quality iPhone app and then add in compression artifacts etc. in post for the vfx shots imo.

Gorgeous, Lapse you posted earlier was amazing too

Windows

Ironically it's the only profile on the S1 showing this issue

We don't plan very much, but we attack each place as a scene and try to set up as much as we can in each location. The spots that we were able to do that was only the DJ scene and the final scene with the children in front of the TV. The others, we just had coverage and also tried to film what we thought we would place into the edit (ex: the television station scene). As for it being hard... yes it is extremely difficult and we are always teetering on getting the shot vs not getting it. Most of the time we only have minutes to film what are looking to get. Huh, interesting. Thanks for bringing that up.

I shoot corporate, interviews, etc. for those curious. Good suggestions guys.

Yup. I power mine all day on a typical 10-12 hour wedding shoot and the Anker battery pack rarely uses up more than 1/3rd of it's available stored power. This is not continuous use obviously, but still typically 100-150GB of 4k 25p or 50p capture at 200mbs. With a single internal Fuji battery. I have the battery pack gaffer taped to the monopod and now that I have 2x XT3's for next season will get another power bank and gaffer tape that to my tripod the other camera works from.

I suspect not. Canon has deliberately crippled its product lineup in order to take people such as yourself (who are heavily invested in Canon glass and like DPAF) and make you tempted to buy the top of the line camera. Kind of like making smokers buy Lamborghinis by not supplying ashtrays in all the cheaper cars. Of course, the unfortunate thing about this is that there is no viable alternative that gives you what you want. The way out of this is to understand what priorities you have and then work out what suits your priorities best. I ended up with a GH5 because I don't care about sensor size and I realised I prefer the manual focus aesthetic. Had I wanted AF I would have been screwed. No perfect camera exists...

I think one of the biggest problems we face when talking to other film-makers is that we underestimate how differently other people might shoot compared to the way we do. I don't know if the OP has mentioned what kind of films they make in other threads, but even such (quite sensible) suggestions of lighting and audio might not apply if they were doing extreme sports, underwater shooting, natural light shooting, etc. I get that almost everyone will spend a lot of time recording someone talking (audio equipment) and will also spend a lot of time recording someone sitting in one place (lighting) but that's not everyone. You'd assume that someone would know which equipment they would use and things they wouldn't, but someone that is asking for equipment recommendations on forums without specifying what they shoot may very well not know these things. I'm sure that every now and then we all speak to someone who says they're getting started in photography and got a Canon with a prime lens because that's what someone else said they should get and now they're asking us why they can't pinch-zoom like on their phone - so you can't assume such things reliably I think!

Well if you have plenty of mics, make shure you bring a spare or two. Also, keeping the mic in the case with plenty of silica gel can help. Interestingly, an MKH50 costs 1 438 dollar in Germany, excl. 21% vat (against 1200 dollar in the US). There are none on the second hand market. You should buy a MKH50 for each project, and then sell it in the EU ?

First suggestion: DO NOT BUY CANON!!! But if you can't do the 1st suggestion, then my 2nd suggestion is: Buy a cheap C100 mk1 with DPAF from eBay (which is even cheaper than the mk2!), as you don't need greater than 1080 or high FPS. Then just wait for Canon to get its thumb out of its ass, and release something decent and affordable. (unlikely!) Or swap over to Sony/Panasonic/BMD/Z Cam. If you need need NEED 4K then just rent a C200 / C300mk2 (or heck, buy a C500 mk1 and an external recorder, they're starting to become very cheap now!) Or even rent a BMD UMP / FS7 / FS5 / EVA1 / etc

omg tysm mercer ? this project is easier than it sounds, i swear ? its all abt planning tbh. i get that now smartphones 4 sure!!! the aesthetic is like 2019 blair witch kinda, with a light ~on the camera~ spooky!!! weird!! ??? lolol

What kind of stuff are ya shooting? Lights and sound are definitely what I'd invest in, regardless, but getting the right lights and mics for what you'll be using them for is key. For a mic the RODE Video Micro is a good choice for $60ish dollars, though the Movo VXR 10 is I think $40 and there's not much difference between the two. They can both be used on camera or boomed with good results. YONGNUO has some pretty good LED light panels starting at around $25. Aputure has some better ones too for a little more money. You can also go the clamp light route, with either CFL or LED bulbs, you'll just want to get higher quality bulbs so you don't have to worry about flicker. I just picked up two Godox SL-60W lights for $200 total on eBay that are arriving tomorrow. You can get one of those for around $120, and it's comparable to the 120d from Aputure.

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?

DZOfilm has announced two new MFT Cine lenses: 10-24mm and 20-70mm T2.9 http://en.dzofilm.com/ - https://www.youtube.com/channel/UC8Cndtgz0OGPG_A1mfNuPpA/videos Interesting for sure. Guess after Veydra MFT cinelenses aren't quite dead yet! -- Awh yeah, I thought DZO sounded familiar, they kinda showed it as a prototype during NAB earlier saying 'around $1700' (might go check em out on last day of IBC) -- Speaking of lenses. Picked up the illusive Leica 10-25mm constant f/1.7 today for €1794,10 (bit of a deal, fresh on the market, normal/current retail: €1999), curious to try it out! Here's a good vid on that one:

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).

My advice to everyone is: never record with anything you can't constantly monitor with headphones. I broke this cardinal rule of location recording on a very important shoot recently. I was shooting a dinner for a doco I'm working on solo; it was quite dark and my eyesight isn't as good as it used to be, and I accidentally switched the input on my mixpre-d to AES/EBU (digital input). I lost some important dialogue before I noticed my error.

And, I've said this before in another thread (changed for the above argument): Here is the problem with that argument, and many people have made that same argument.... in one version or another. So you are are saying Canon has "done their market research, they will know what their customers are doing" and the end product of all that research is to exclude 24p The problem with that statement is that companies like Sony, Panasonic, Fuji, Blackmagic also have market research teams and pros telling them what the people want.... why is it that they include 24p??? See the thing is.... Sony, Panasonic, Fuji, Blackmagic, etc. are not even number 1 in this segment.... so that doesn't mean that they don't know what they are doing or don't know how to be number 1, its more along the lines that they should be more hungry to be number 1 and they will do anything to get to number 1, hence they will include 24p.

I think there's a middle ground: I think that people should expect at least minimum level of quality from a $200 wireless system, especially from a company like RODE. That is to say, people should rightfully expect the thing to work as advertised. I'd also say though that a $200 wireless set may not be the best choice when shooting something like a wedding, where you've got one chance to nail everything. There's just too great a chance that something will happen. That's why I use a Zoom H1 and a lav. Definitely not fancy but I've never had it fail on me, which is more than I can say for most (all?) wireless systems I've worked with.

So I guess you're only shooting with Arri and Red cameras (because they're professional) using Zeiss Primes (because they're professional) and put it all on O'Connor sticks (because they're professional)? Anything else and you should expect 480p TOPS (because it's not professional) ? I hate these kinds of stupid comments. He should absolutely expect a perfectly usable product for 200 euro. Not everyone needs 3km range and perfect crystal clear full spectrum audio that will make sure bride's "yes I do" will be transmitted on hollywood level never seen before on a damn youtube wedding video. I've been using my Rode Filmmaker Kit with zero issues in tightly packed convention centers. My drone has more issues being on 2.4 Ghz than the Rode.

All valid points, but it makes me wonder how much you want to spend for a "what if" scenario. An alternative to this is a C100 and if the client wants 4K then hire a C200 for that project. At the point that clients routinely ask for 4K then you can consider how long a purchase would take to pay for itself based on data rather than a general concern. "What if" is the enemy of photography because it leads you down a path where you buy so much equipment that you don't have time to learn how to use it and you take so many things with you that you can't actually go anywhere or shoot anything. True wisdom is knowing how much is enough.

He's still going... Holy fuck.

I can't really see where there's a problem

The market consists of different flavors, noone of the big companies I work for would buy any of the Pockets - ever, I personally, would/will buy one, and a lot of the smaller production companies already are delivering TV shows with GH5 and P4K cameras. I am spending big in sound because I am a soundman first, I am not a DP or cameraman, but I do have a production company that needs a small and "cheap-ish" new camera, it doesn't have to be about power struggle and dog eat dog and big fish eats small fish e.t.c I just need a small-ish and reasonably priced camera for the occasional and accordingly priced project. For bigger you rent anyway or co-produce with another company. Glad you've been here! P.S if they were squeezing an ND filter somewhere in there it would be a certain buy from me.

This just happened with my colorchecker in direct sunlight Whenever there's something blue and slightly overexposed in your shot (like objects outside a window) be prepared to run into issues like that. There's no roll-off for blues at all, almost like they did forget about adding it... Original clips https://drive.google.com/open?id=1IlfWM7jDVwh5GMAQk7RnLfp_FCscAojP