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They gonna have to let Mokara go, can't afford the licensing fee and his payroll. That's a sad news for this forum as Mokara was a constant source of entertainment.

Should have IBIS as none of their FF Z lens have IS ugh

Get a Masters in business. It's applicable to all fields. It also shows that you're serious about the bottom line, and will help you running your own business.

Weird how there seems to be this black hole when it comes to APS-C cameras and IBIS. Damn near every M4/3 and full-frame camera has it nowadays, but on the APS-C front there's only really the A6500 and A6600 that have it (plus some of Pentax's cameras).

Start at the end goal and work backwards, seeking evidence. For example, if the end goal is to get a job, call employers and ask to speak to their hiring manager and ask them if it's something they care about when hiring. If you want to learn to think differently, find who your lecturers would be and call them, asking them if their classes will teach you to think differently from the other classes on offer. You will quickly understand if they're full of shit or not. One way that is guaranteed to teach you to think differently is to find some film people you like (producers, directors, cinematographers, etc) who produce radically different work, call all of their offices begging for an internship where you work for free and get to shadow these people. Spend a few months with each, trying to figure out what they do and why and helping them. Not only will that give you access to people you know think differently to each other, but if you're any good you'll probably get offered jobs with people you gelled with. Be clear on your goals and work backwards.

Having used the z6, I personally don't know the criticism some have. I cannot say how much I like the quality I get out of it. This is an absolute beauty of a video shot entirely on the z6.

Short answer: No. Longer answer. Probably not.

Notice how they didn't say 4K 24 fps with dpaf ?

I heard a rumor it was next to impossible to develop 24p in the software. It would have been too expensive. But then Steve in software development had a break through. boolean ENABLE24P = true;

From everything I heard connections are the real benefit of going to school, of course the better the school the more useful the connections. If you are a socialite you can make connections without school though. It can definitely help motivate one to actually do work and learn, but if you can get a production job that accomplishes the same thing. For corporate type 9-5ish jobs having a masters on your application can definitely help, though in this visual land your work can also speak for itself.

Getting popcorn ready to watch how @Mokara fumbles his way through this news

It very much depends on what you're developing it on but I'm guessing in the context of what this will be used for that some artefacts would be acceptable to achieve the real time aspect of it?

Fuji XH-1 as well.

Its doable with something custom written. You record the incoming audio to files in increasing time chunks depending on the slow down percentage that you want, to take into account the time it will take to play them back. So for example, lets take a half speed playback scenario. The incoming audio (FILE 1) would be written to a file after the first 0.5 seconds and the playback of that file would begin immediately when its finished writing but at half speed. Simultaneously, the still incoming audio would immediately start writing to a new file (FILE 2) which would need to be of sufficient length to cover the length of time the playback will take to complete the first file before it is ready to play this new file. As our first file is 0.5 seconds, it will take 1 second to playback at half speed so our new file (FILE 2) will need to be 1 second long and this will immediately begin playing upon completion whereupon we begin recording another new file. This file (FILE 2) will take 2 seconds to play back at half speed so our next file (FILE 3) will need to be 2 seconds long. As this will take 4 seconds to complete playback at half speed our next file (FILE 4) will need to be 8 seconds long. And so on and so on. I've done you a spreadsheet illustration Depending on what you are going to run it on and how long the piece is you could do this in memory of course with buffers instead of writing to files. The audio of course will be playing back at half pitch as well as half speed but there are enough affordable hardware solutions out there nowadays to take care of that.

@IronFilm raises an important and fundamental issue - that if you're stretching time in any way you will get out of sync. My method stayed in sync because it skipped past lots of content. There is an element of time-stretching effect to what you're talking about, and there are algorithms that do such things, however fundamentally it means that the time it takes to listen to the output is different to the time it took to capture the input. Have a think about how you're going to solve that and then we can talk about the details of implementing it

It looks quite a solid camera, if the quality of the 4k and 120 fps FHD is about same as the z6 then it is a very good camera. I mean it is a 800 usd camera and what makes me more existed is the fact it is not the typical Sony APSC 24 megapixel A6400 type sensor, you know the jello sensor. Another thing to consider is that it is 20.9 megapixel sensor. The Nikoon d500 sensor had very good low light 20 megapixel sensor and if it is base on that, it should be quite good in low light.

I wish it were that simple, "just expose using the traditional approach" ? I guess I'm not like most cinematographers then. I do my research, find the best possible way to expose the different cameras so I get the most information in the recorded files, and then take it from there. Unfortunately, different cameras require different techniques. C200 for example introduces a lot of digital ugly noise if you go with CLOG3 and expose like it says in the manual. If you ETTR after doing research about IRE-levels that are safe for color and exposure in CLOG3, then it's a different story. Cinema and noise.. Well, who's saying we are all after the "cinematic" look in everything we do? This is 2019 after all and we live in a digital world. I would not recommend using digital noise as "cinematic noise" for anyone using compressed codecs, it's much easier introducing that kind of noise in post. And if it's going up on youtube/vimeo/instagram etc, maybe adding noise isn't a very good choice at all.

I'm engineer so not directly relevant, but might be based on what BasilikFilm has said above. I was never asked what school qualifications I had after I got into University, I was never asked what degree I had after I had a few years work under my belt, I haven't been asked what my first few years of employment were like now I have 15 years under my belt. Each time those credentials or qualifications made the step to the next level easier, it would've been possible without them but I have seen others coming from a less traditional background take longer to get their foot on the first rung. A traditional path with good grades gives everyone in the hiring process a bit of comfort and can be the differentiator between 2 candidates but this is only true at the early stages of a career, after 10 years of experience I care far more about personality. I work at a University now and there would be 2 things I would check if I was going to do a masters. 1. See who the tutors are, if they are academics that have worked their way up via bachelors, masters then a phd I would be a little cautious because there are some great people who have done that and some people who have learnt and excelled at academia and not just their specialist subject. 2. Who are the other students, if part of what you want is to build a network then students who don't stay in your location ( either because they don't want to or aren't allowed to ) or aren't fluent in English then it may not be as useful to you. In our institution ~70% of masters students are Chinese and American and they are there for the credentials and don't stick around afterwards.

no one ever asked me about my degree. OK that is many years ago now. It is all about skills, portfolio and word of mouth. If you are a self starter you can build these yourself.

This is where the pancake timelines come in handy. On the top level you have the timeline that you're gradually culling so it's just a whole bunch of footage on a single track (maybe with some markers or colour labels to break up different sections or key clips). Then on the bottom timeline you have your clean slate that you can drag and drop things onto and build it from the ground up. So you can essentially be doing both techniques at the same time.

Here's a thought - every second you take the first 1/5th of a second and slow it down to 20% speed and watch that for the full second, then at the start of the next second you skip forward the other 80% of the second to get to the start of the next second and the cycle starts again. It would be semi-realtime, being that people would see and hear themselves in slow-motion with only a second delay. Considering you haven't specified what you're trying to accomplish, I'm not sure how this suits, but if you're looking at an art installation or something then that would work

Since it is such a small and compact camera they really need the time to get it squeezed in.

No, but I see a bunch of us jumping on this camera in a few weeks with an EF adaptor, and eventually some of us will probably give in buy some L-mount lenses, and Sigma will have won.

Hahaha... Leica Summicron... as sharp as a knife - subscribe to John Wayne Gacy Tasty Images with Jeffrey Dahmer How to gut a lens that will not be blamed for nothing ... From Hell with Jack

In one of the BTS features for The Hobbit, Peter Jackson said that one side effect of digital was they would roll through multiple takes. It makes me wonder how much of that is a "usable ratio," or actual footage where the actors are acting, and how much is between takes, clapperboards, etc, how much is from multiple cameras as mentioned, and how much is from content that was cut or done in multiple takes.

I don't want to put his name in case people googling him end up here ! If you put "Nikon 50mm 1.4 K Non-Ai to Ai Conversion" in YouTube you'll find him. Tune in next week for "3D pop from Zeiss lenses - is it a myth?" with your host Ted Bundy.

emanuel, you really should stop parking in the disabled parking bays ?

Fury Road might be because of all of the practical effects & stunts, which usually get multiple angles of coverage as they're harder to repeat. 10 cameras shooting a single take = a 10:1 ratio, for example. So in that case, even though the shooting ratio is going up, the budget doesn't really change that much as they're not adding shoot days on to get the extra coverage. Not sure about Gone Girl though - I guess just lots of takes trying to get those nuanced emotions? My next biggest editing tip would be to work backwards from the end product. Do a paper edit, or edit it in your head first, before you start anything else (ideally you'd have the end product in your head before you even start shooting!). Decide on roughly how long it is going to be, what your climax is going to be, your opening and closing shots, what sound bites you want to use, what the pacing is, etc. Then once you actually start cutting, put the best shots/sequences in first in roughly the right places, then get your soundtrack & audio bed sorted out, then fill in the holes. If you work out the edit on paper (using the aforementioned spreadsheet) before you even start cutting, you'll be able to do the actual task of editing with a lot more purpose and the decisions will almost make themselves.

M6ii will also get update to 24p early next year

Yeah, so this is weird. I was going to say that I'm pretty sure people have modded them to be ai and that would one way forward and that I'd found you a tutorial video on YouTube of a guy doing it. So, I was idly reading the comments, as you do, and lots of people were commenting about him being a murderer and I was thinking "well its an old lens and I can see why people might think its heresy to be messing with it but calling him a murderer is a bit over the top but hey this is YouTube so...". Anyway, curiosity got the better of me and I googled his name and it turns out he's an actual serial killer.

Nope, they raised enough money to pay the codec consortium, aka the Illuminati, the 24 cents for 24p. I don’t think he was being pro-Canon here... it’s like the folks that say, Canon isn’t withholding features, that wouldn’t make any sense... they just don’t have the tech to do it.

I don’t know, I’d still suggest the Cine version in EF if he wants a declicked aperture. I’ve had a couple of the M4/3 Cine lenses in the past and didn’t mind the geared focus ring when focusing by hand. The other option would be the Fotodiox Viselex adapter that has a built in variable ND filter... I assume Auto SS would work the same??? That’s a nifty little set up... I used to use focus levers when I was a responsible tripod user and I can see how those reverse gears would be useful.

Haha...yes, ignore all that bollocks that I wrote in my last post @kye and buy F mount stills versions as this option is indeed the best way to have your cake and eat it regarding the smooth aperture and retaining the focus grip if you are going to be using them on a non Nikon body. Just set the aperture to minimum and you will then have a de-clicked smooth aperture control. The only caveat is that most of them don't have a scale so it'll be purely manual by eye on the camera exposure meter regarding exposure.

Yeah. noreply@canoncustomers.com

I didn’t realize you shot auto, I just assumed you shot manual. I think Nikon G adapters have an “aperture ring” and will make all Nikon lenses have a smooth aperture... but I’m not a hundred percent sure on that.

Which the path of least resistance to achieve (if you don't want to open the lens up) is through getting the Cine DS version and adding something on to the teeth to make it easier to hand focus. The grips I linked to can have the gear belt reversed like I've done here to my 14mm to illustrate for you (though obviously trim the end unlike I've done here). If you don't want to use the lever (although it is actually operationally not horrendous to be fair) then you can just use a regular gear belt reversed to give you a grip. To be honest, the gear teeth themselves are not really that bad and there is enough space between the focus ring one at least to fashion a grip with some rubber grip tape. But yeah, if you don't mind opening the lens up (and listening to Guns&Roses while doing it if that video is anything to go by), then de-clicking a stills one might be the way to go and you can certainly save a few quid going that route too.

You were saying? https://www.canonrumors.com/canon-to-add-24p-recording-to-the-canon-eos-90d-canon-eos-rp-canon-eos-m6-mark-ii/

If you are not afraid to open the lens, then try this:

I suggest you go straight to work. I know Escape studios but what they offer can be learned on the job. I worked as a compositor out of college with just my portfolio, and a BS degree. You learn so much more from your Seniors and your colleagues while working in the industry, plus you'll get paid to learn and to build out your reel. So for me, you should get a job in production first, then rethink if you really want to do your Masters

Sorry I should have elaborated further, it also needs to be in a Canon MILC.

I thought that this was part 2?

You were making a good case until this statement. Canon removing 24p from current and probably future cameras is absolutely purposefully crippling them. There is no extra strain on the processor for 24p/25p versus 30p. It's predatory behavior from a company that is trying to push its customers around - not cool.

Recent video I made with my GH5. Shot on the Leica 12-60 lens using a Ronin SC Gimbal. Graded in Resolve with Filmconvert and shot in Cine-D profile at 50fps with a Tiffen Black Satin 1 filter attached. Two years going and still think this camera is amazing.

Thanks, @mercer! Glad you enjoyed. The bmmcc definitely has that "special sauce" look. Don't ever get rid of it! Thanks, @mkabi. Ssshhh, don't give away the filmmaking secrets! ? That's exactly what it was. One man crew (me) with sound design. A bar tender and some people crossing camera would probably have sold the scene a little more, but unnecessary in terms of what I wanted to achieve ?

Great great write up! Yeah I’ve been looking how to attach series 9 and nothing yet. If you come across do post.

or should I wait until there is a better camera? I love my nx1, I shoot great macro shots, great landscape, but I still long to get a good telephoto. Should I get the z7 or wait till perhaps a newer model comes out. God bless

Get the z6 unless you can really benefit from the higher resolution stills. The z6 will give you better lowlight, more dr (especially with an external recorder) future external raw video, and better af with Nikon glass. God bless you also.

Shot this film in Botswana and I have to say that the BM cinema camera works perfectly for wildlife filming. You will need an external monitor because the screen on the back acts more as a mirror than as a display but other than that it has been great. It eats a lot of hard drive space so a few extra ssd's are needed. Let me know what you guys think.

BMPCC 4K Color Grade in 15 Seconds using my BozBMDFilm_P4K LUT in Davinci Resolve - Ungraded Footage Courtesy of Les Visuals. LUT Download Page: https://bulentozdemirfilms.wordpress.com/bozbmdfilm_p4k-to-rec709-lut/

Do they throw in overheating for free?