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ykno what beats a great lens...? great crew ?

It's nice to have a nice camera, but a lot has to do what is happening in front and behind (!) the camera body. It's like when you were a kid shooting silly videos with your friends, playing out a combat scene perhaps or something. First thing that ruins it is an inadequate casting/wardrobe/location. A battlescene with 12 yr olds running around in casual clothing in a suburb neighbourhood with cringy acting doesn't really sell it. Same for the post production with too epic music thrown over it and Red Giant Magic Bullet Looks set to overdrive on the 'Michael Bay'-setting. But you live and you learn. Get the right talent in front of the camera, put 'em in a convincing setting, with the mood set right from the get-go and suddenly it's already much better. You change the kit zoom to a set of primes. You're giving camera movement more thought. In post you still stylize, but you don't go overboard. It's those touches that have little to do with the camera body itself that make the biggest difference. So when the title of this thread says 'everything else instead', indeed, ND filters and audio gear are exactly those kind of things. I just got a little too carried away with pixel squeezing and forgot about the time and effort it takes to obtain and work with such thicc footage. And for what? So it looks slightly better to the 1% that would actually be able to tell a difference. I realized that I enjoy the shooting process the most. Thinking carefully about the scene, what it needs in terms of lighting, what look am I going for, what lens would suit that? That sorta thing. I actually don't enjoy just about anything that happens in post, so it was a bit foolish of me to get a new and exciting camera that would however make that whole part more tedious, but it's an easy trap to fall into. Atleast I realized it. ? Maybe I'll consider it once I can afford to have an editor work for me (that shares a similar mindset/creative vision).

I literally just sold my BMPCC4K to get the Leica 10-25mm f/1.7. I figured the camera wasn't worth my hassle and I much rather have a convenient and awesome lens. ?

GH5/G9 (way more convenient to use!). Haven't had the chance yet (have my cameras in NL and am in AT at the moment where I was able to get it at -10% & another €5 off). In a week I have holidays (around my birthday) and I will get get around to it. It's indeed lighter than expected, still a big boii tho (will probably stick out of the bottom of any camera, so need to be gentle setting the camera down). Luckily I had invested in 77mm filters before and always used step rings. From research everybody that's been using it was superimpressed. Some argue it's better than primes, some argue it's not quite up there, but it's real solid and super convenient. It's one of these unicorn lenses that only comes along once every so many years (e.g. like Samsung had with the 16-50mm f/2-2.8 ED OIS S or the Sigma 18-35mm f/1.8)... this time? A 10-25mm constant f/1.7. Madness if you ask me. Personally I'm more of a Zach. Just me and my hand puppets. jk xD Though, one man's band more born out of being a control freak/perfectionist (I'm the one with the vision, I'm the only one who can execute it properly, would be too frustrating trying to convey my intent to others that then still wouldn't get it right). A set of slave clones would be nice to have tho.

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.

What do you all think? For the price, I know I will try it. https://www.mirrorlessrumors.com/surprise-this-is-the-new-sirui-50mm-f1-8-133x-anamorphot-lens-for-sony-e-fuji-x-and-mft/

This is what a $62K setup looks like on a Canon M50. IMHO by far the most important aspect of that setup was the lens. Buy lenses, not cameras.

That lens almost pushed me over to Panasonic camera's, it's a beautiful piece of engineering. God do I miss the Samsung 16-50 and 50-150. Those designs were the perfect size and weight with incredible optics. Wish they had sold the designs to Sigma or Tamron so they could have used them.

+1, I was able to test the C200 before buying one. It has a small learning curve and the exposure is different based on the profiles (WDR, Log, raw, etc.). Definitively need to do some test before shooting for real. Yes, the DPAF was important for me in my decision to go with Canon but it's not magical neither. Better than all the other Pro cam as this point but it still hunt and breathe in some situation or with older lenses and non canon lenses. But overall, that's a very useable, natural and fast AF system for that type of Camera. The C200 AF is more advanced than the one on the C100 and C300. Unless you need 60p for slo-mo. Depends of the use and if you can pay it back quickly. As for 4K, this is not really an issue anymore. I always shoot in 4k even to deliver 1080 footage unless the delivery requires it. 4k footage is not big on the C200 (150mbps like the GH5) and modern computer handle it well. So it's not going to fill up hard drive and create bottleneck on normal editing station.

So I finally got my 6mm Pentax Cosmicar 1.2 C-Mount Lens in and decided to take it for a spin today. It was a game changer!!! While I was waiting for that lens to come in I was using a Canon 28-135mm f/3.5-5.6 on an EF-M converter and it was always too bright to use during the day even at f/16 and the 5x crop was horrendous, but as I hoped, everything changed and became clear and made sense once I got the Pentax 6mm. I used the same settings as @Matt James Smith ? (thanks for the specs by the way Matt!): 6mm f/1.2 Pentax TV lens (have not yet added a shim for infinity focus) EOSM with latest ML build 18fps override (exact) 5x zoom 4:3 aspect 1440 x 1072 I LOVE THE LOOK SOOOOO MUCH!! THE ONLY ISSUE ON THIS FIRST RUN WAS THOSE DAMNED PINK DOTS!!! I know they have been discussed on other threads, so it's time to dive deep into that issue, but for now I couldn't be happier! Only effects are some slight dust and movement via FCPX's "Aged Film". Other than that, it's straight out of camera. Also per Matt's deduction, I have slowed all clips down to 72% duration on a 24FPS timeline in FCPX. Here is a little vid I put together quickly from the shots I took in the Santa Barbara Harbor this morning. So far I'm only in for $160-$170 on the build, including the body, c-mount adapter, pistol grip and Pentax Lens (which I won for a steal on eBay for $40)! THANK YOU SO MUCH TO EVERYONE HERE FOR HELPING ME GET TO THIS POINT!!! ? And if I can be of any service with my still limited knowledge...I'm happy to help anyone!!

Renting vs buying doesn't have to be an all or nothing approach. You can do a mix of both buying and renting. (i.e. buying a cheaper camera, and sometimes renting the more expensive camera) How often do you need need NEED a 4K camera? Once a week? Once a month? Once a season? If you only need one once a season, then it is a no brainer to buy a C100 mk1 (or other similar / cheap 1080 /whatever camera) for your daily usage, and only rent something else when you need NEED it. If you need NEED a 4K camera every week, then it should be a no brainer to get a C200 / C300 mk2 / FS7 / FS5 / whatever which *is* 4K In between, such as say if you need it just once a month, then it gets trickier which path to go down. And you need to crunch the specific numbers for yourself to see which way makes the most financial sense for you personally. That is a really good plan for him Kye!

An idea for consideration.. Rent a C200 for a real project but give yourself an extra day beforehand. On the prep day get setup and familiar with it and shoot some side-by-side shots with the two codecs, partly to practice switching back and forth, and also to compare in post that evening. Then on the day shoot a couple of takes of each shot with the 8-bit codec, then do the 'real' takes in RAW. Use the 8-bit takes to practice your camera moves or whatever, which I'm sure you'd do anyway, in a sense you can just hit record on the 8-bit mode, do your setup and let the camera roll (they're low bitrate so storage wouldn't be an issue) then just hit stop when you're ready for a real take. Then in post you can use the RAW ones to deliver for the client and not take any risk in delivering for your client, but you'll have gotten some real-world side-by-side comparison shots to play with in post, almost for free as you probably would have spent almost all the setup time doing stuff anyway. The C100 was famous for having a low bitrate codec that looked a lot better than the bitrate would have suggested, so maybe the C200 is similar, but you'd have to test it in real life to be sure.

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. ============================================================================================================

https://9to5mac.com/2019/09/10/iphone-pro-11-pro-max-triple-camera/ It turns out that the iPhone 11 can record on multiple cameras at once in filmic pro. For example you could shoot with both a telephoto and ultra wide and switch between them in post easily. Sadly there still isn’t any utilization of the multiple cameras to achieve a shallow depth of field in video. Cool nonetheless.

Yes, what I was getting at was that by doing this you would be able to: Shoot a real project with a C200 Get 8-bit footage from a real job that you can do test grading on (instead of setting up a fake job and not getting paid for it) Not risk stuffing up a real job if the 8-bit footage wasn't good enough Get a taste of how difficult the RAW workflow is (maybe it's not as bad as you think..) Edit: Depending on your NLE you could deliver the project to the client from the RAW files and then just swap in the 8-bit files to the same grade and see how they hold up. It's not about comparing them to the RAW, but by processing them how you would normally and then working out if they're good enough.

couldnt agree more. SAME SAME SAME. ...BUT. ive learned to have the opposite attitude, and its paying off TREMENDOUSLY, right now...! it only took 10 years, nbd ? not even jk. as a fine artist who does everything, quite happily, ALONE, this whole producer journey has been quite a trip im getting good at it tho~! just. takes. PRACTICE sadly smh

Imo posting frame grabs from a video is meaningless. Because it does not score motion. I could stills from a Leica M10 as proof... but that wouldn't make a case for it being a great video camera.

Panasonic G85 + 12-60 or 25/1.7 + Pro Mist 1/4 http://reddit.com/r/cinematography/comments/d2hbmy/three_frames_from_a_project_shot_by_me_panasonic/

I dont understand this blue clipping problem at all. On the S1 and S1H, while in VLog, the green and red channel have the very mild, saturation they are supposed to have. Those two have a perfectly normal response. However, blue is completely different than red and green, it just floods in with this crazy saturation that is 10 times more than red and green have. I dont get it...blue, why does THAT color respond soooo much more differently then red and green? I did some more blue light tests last night: S1 - Vlog = Blue 100% destroyed S1 - HLG = Blue 100% destroyed GH5 - VLog-l = Blue = Excellent! GH5- HLG = Blue = Excellent! Sony Z150 - HLG = Blue is very bad but not completely destroyed Sony NX80 - SLOG-2 = Blue is somewhat "OK" but responds weird. Sony NX80 - HLG = Blue is excellent! Sony RX10-III - SLOG-2 = Blue is 100% destroyed. Sony RX100 VII SLOG-2 (uses new Sony "Venice" color science) = Blue is excellent!! Sony RX100 VII HLG (uses new Sony "Venice" color science) = Blue is excellent!! All these cameras got the EXACT same blue light scene test. I dont know what to think but the GH5 is great and Sony's new color science seems to beat the problem too. This really blows my mind. CT

As far as I know its still there on the Pocket 4k but the Pocket 6k doesn't have the issue. That said it can be fixed in post on the Pocket 4k, while on the Panasonic S1 you are just screwed. I have a feeling he is just used to the excellence from Arri or RED. Would be interesting to see him compare it to the EOS R, Fuji XT3, and Sony A7III I thought the panasonic codec with Vlog is H264 10 bit 150mbps?

Iirc it's 4k.

Sennheiser XSW-D kits on limited (IBC2019 duration?) sale over @ CVP: ~ https://cvp.com/catalogue/tag/senxsddds19?utm_source=mailshot&utm_medium=email&utm_campaign=email Didn't know Saramonic was doing a thingie... Also... this guy ? ~ https://www.kickstarter.com/projects/117828565/smartmike-revolutionary-wireless-mic-for-content-creators

another option that you may have not thought about. They have different capsules including hypercardioid. I assembled one of their other microphones for recording vocals and instrument and the quality is quiet something https://microphone-parts.com/products/sdc-microphone-kit?variant=9351388790844

You can use something like a Quasar RGB. It has prebuilt effects like a fire effect - .

My guess: Paint out light sources. Track the background. Add smoke elements (normal transfer mode I’m guessing), adjust levels/blur/etc. Position/add fire elements, change to screen or add transfer mode. Adjust levels/blur. Roto foreground. Add embers/sparks. Maybe add haze, foreground smoke, etc. Color correct to add orange tint. (And of course track the camera motion so the elements follow it. Or that whole thing could be a still with shake added in post.)

For the line of work I do (as someone who has specialised in the sound department), I wouldn't even call RodeLinks or Rode GO "100% usable" Rode GO: nonlocking connector, is a dealbreaker RodeLink: BULKINESS, is a dealbreaker Yes, in a pinch, a Rode wireless is better than nothing! But that is a rather low bar to set for it?

Ah good, so you've got a Zoom F4 and other wireless, shoguns / accessories / etc as well ? I've been quite partial to the Sanken CS1e recently, but it depends on the shoot. There is also the Sanken CSM1 which I haven't ever tried ( did you end up getting it @Kisaha ?), but I would like to. Schoeps just announced today their CMC1 which makes their MK41 even more appealing.

Something to keep in mind is that you're coming from the pro stills world, and there isn't the same need/demand for AF in the pro film world. Mannual focus or "lessor AF" might still be sufficient for your needs, especially if it means you're buying a camera which isn't crippled in every other area and/or waaaay overpriced. Additionally AF (even in "the best" AF systems, such as Canon, or recent Sony cameras. Or the Nikon Z series) is nowhere near like what you experience in top like DSLRs for stills. And there are lots of weird "gotchas" that Canon (which supposedly has "the best" AF) will throw at you even with their AF, such as perhaps only AF in the centre, or maybe now AF in 4K, or no good AF except with certain ones of the latest Canon lenses, etc etc (it various from Canon camera body to camera body, as to how Canon has chosen to cripple their AF system).

Interesting experiment @TrueIndigo. It reminds me of the YT guy who uses a custom rig, moving the camera in relation to the lens, shooting a static scene several times and then combining them to get high-resolution or large sensor output files. I'm also reminded of the people that experimented with taking a flatbed scanner and putting some kind of lens on them so that when the scanner did a 'pass' it was actually taking a photo from the left to the right of a scene. It generated absolutely enormous resolution files, but of course it was a horizontal rolling-shutter and took a few seconds to make the pass, so if anything moved you were stuffed! I shoot 4K and will crop into it for 1:2.35 and my problem is that I forget that the resolution is so high and so I tend to try and get too close to things in framing. I need to train myself to have faith that things will be visible and I can go wider!

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.

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

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...

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:

Nah you're wrong.

For y'all in Germany out there... at Saturn : e.g. (Had a price alarm set on Geizhals.eu for it) --- lol, how is it, that everytime I post some deal involving the 10-25mm they make it "unavailable" shortly after... how convenient

I find the price reasonable for what you get.

https://***URL not allowed***/canon-c500-mark-ii-first-look-6k-full-frame-cinema-raw-light-modular-concept/ 'Electronic Image Stabilizer Canon has also added an image stabilizer for the first time in a cinema camera. They call it a 5-axis image stabilizer, so it’s technically not an IBIS because it’s fully electronic.' It's just that it has an accelerometer built-in noticing the changes in the 5-axis giving better chances to correct for unwanted motion artifacts/wobble, so better than 'we'll fix it in post with warp stabilizer', but still digital correction inducing a crop.

Litlle bump for this topic. ? DEAL [AT / Austria] - Various photography gear I was pricealerted through Geizhals.eu . ~ linkie link (*Aktion gültig von 01.08. – 10.08.2019 im Markt und noch bis 12.08.2019 (09:00 Uhr) im Onlineshop) Goes for bodies like the G9/GH5/GH5S (or A7III, etc), but most notably the H-X1025 , yes the all new PANASONIC Leica DG Vario Summilux 10-25mm f1.7 for €1999 €1799! Funny enough another store has it up for sale for the same (maybe pricematching). Not sure if your local stores have/do the same? Was already upset about the pricing... Before that €1799 was actually the number running through my mind... April 24th when it was rumored to come in at $2.5k... And now it is exactly that. Dang it. The law of attraction making me put my money where my mouth's at. --- well, I had to just run my darn mouth, didn't I. They've made the lens unavailable now. Typical. ----- well, maybe Saturn still grants it... -10% comes down to the same thing

Yup, that’s my understanding. Now I do not have a C200, so that information is second hand. But I’m sure it’s in the manual as a footnote.