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i feel like im starting to get the hang of this filmmaking thing, for the first time, with the project im doing right now i dunno how i couldve gotten this far without andrew, eoshd, and all u guys on this board helping me, and answering my stupid questions it means a lot i just want u all 2 kno ? thank you

The $200 challenge was fun, and I've been thinking about the next one, and what might be some good rules. I'm travelling and have had slow internet for the last week, and the highest quality I could watch YT without buffering was 480p, and it has been an interesting experience. Obviously the compression basically hammers the video quality into the dust, but some traits remain, and the aesthetic is interesting. I've been watching on my 13" laptop screen, and although things are notably fuzzy and lots of movement has lots of artefacts, some of the really important things still come through, like composition, colour, DoF, editing pace, sound, music, etc. So, I have a challenge and a question.... I challenge you to watch YT in 480p for at least 30 minutes. The idea is to watch some of your favourite films, and to watch long enough to get used to the quality, so that you get a solid impression of the feel of having very low resolution, rather than just a first impression. You should watch for long enough to forget you're watching for video quality and see how much enjoyment you still get. The question is, if I make a next challenge that you have to make a film and one of the criteria is that it must be uploaded to YT in 480p (720x480) would that be of interest to anyone?

They are stills lenses with breathing and a huge mark-up.

I think people would be surprised if they ever went back in time and watched the projections of most movies on the film circuit. The mangled prints that were presented in budget movie houses were ridiculous. Equivalent to 480p would probably be an improvement. Growing up in the Rust Belt and going to sad $1 movie shows was my ideal. I loved it. You really can't appreciate how terrible the IQ was. And that was the movie house. The analog recordings made at home were horrible! BTW, 864x486 is what I still deliver as draft previews to my corporate clients. They don't pixel peep. They just want the content they paid for. Also, if you want something akin to a VHS dub recorded in SLP mode (what almost every 80's kid bootlegging films watched at home on their crappy VCR's and CRT's) you'd need something like 480x270 at .2 Mbps...probably less, honestly. How about 320x180 at .1Mbps? That would be a real challenge!

We are talking about a company that even cripples its $7500 pro camera: the C200 that came without middle ground codec. The 1DX2 doesn't even come with LOG and decent codec. This 1DX3 won't be different. Canon's history is full of video crippling. Just pick your pain: DPAF disabled, massive crop, no LOG, no 24fps, recording limits, crop, stupid inefficient codec, etc. They'll fuck up the video specs somehow. Canon couldn't care less about the S1H and the competition, all that matters is to prevent product cannibalization and keep the offering segmented.

This guy is brilliant. He has already brought Red to its knees. Sony and Apple should hire him for sending Red to the cleaners wrt their fake patents. I noticed he has a gofundme campaign, and I would love to contribute. Anyone who believes in honesty and fighting off the evil behemoths and corporate super bullies, should help him too. In whatever little way. This is truly the modern age David vs Goliath story.

Well that won’t happen this time. The C500 Mk2 is that much.

@IronFilm I'm praying that RED looses to Apple in the lawsuit

Sucks! On another note - that still sucks, I have pre-ordered an P4K 20 days ago and the latest official reply was "it can arrive in one week, or two months"..

If you shoot in anything other than 4k DCI, the sensor gets windowed, that symbol is letting you know.

I heard "diopters" and was summoned here. I personally haven't published much on how diopters work besides what's in my original guide - www.tferradans.com/anamorphic But I have a ton of research and drafts expanding on the subject. Most vari-str diopters (single focus solutions) act as a wide-angle adapter when close focused (Rectilux is 0.9x for example, I have notes on the others too, but not by memory), and regular diopters alter focal length a tiny little bit (you should disregard it). Here's a great article by Jay Holben on diopters - https://ascmag.com/blog/shot-craft/deep-focus-diopters and an instagram post by the author of the article, expanding on depth of field and the things it sounds like you're looking for:

Fuck Zaxcom and their stupid patent/monopoly

Panasonic S1H in a dream world where it has 4k100fps and PDAF. Ronin S whatever. Edelkrone HeadPlus kit. An even more compact Flowtech 75. A bag of compact but powerful RGBW lights. All Sigma ARTs. All the Richard Gale (Dog Schidt stuff) lenses. Haze machine. I actually own half of the above. I’m incredibly intrigued at the idea of getting a full cinematography kit in just one rolling, portable case. Inc lights, gimbals, everything. Can it be done?

corporate / education / some narrative My dream is to keep it all in one backpack. (It never works out that way, but I see no reason why it shouldn't) So ... (gear I have) GH5, Voigtlander 25mm, Lumix 15mm, Lumix Nocticron 42.5. Zoom F4, rode NTG 3 (and cable and pole stuff) Any small, semi-decent tripod.

Compressed 10 bit RAW would be much more enticing than uncompressed 8 bit CDNG IMHO

That's why I like the IBIS in the GH5 - it stabilises my fully-manual vintage lenses. Fast, cheap, great MF, great ergonomics and stabilised is a combo that only IBIS provides. This is something that I think people don't understand... OIS and IBIS stabilise DURING the exposure of each frame - Electronic stabilisation stabilises AFTER the exposure of each frame. If you're shaking the camera at all, the fuzzy light-trails and motion blur in each frame can't be fixed by electronic stabilisation. Every camera with electronic stabilisation is designed for very short exposures - action cameras. As soon as you want a 180 shutter or work in low light then electronic stabilisation isn't much use. It means that you throw away all your ND filters, or always use the camera on a gimbal. [Edit: this applies to any motion of the camera or any motion in the frame]

Quick update. I ended up buying the Audix SCX1-HC and it sounds very good after a few tests indoor and in tight spaces. Need more testing but it looks good so far. As for the build quality, this mic seems very solid.

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