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Well, looks like Canon is selling the eos rp for $999. Pretty good deal for full frame, and it shoots 24p now. Pair this with eoshd c-log and this seems like a nice combo if you don’t need 4K

This is our reel for 2019... It's only a minute long and we were trying to highlight all the different types of projects that we worked on this year.

Put in a session with the p4k and the lomo 40mm and elmoscope this afternoon. the lomo fits inside the clamp housing and slides in nearly 10mm, no vignetting with it at either up against the elmo or sitting at the back of the clamp. the only issue is that the lomo has the aperture adjustment on the front close to the lens which is a pain in the ass. So its not a long term solution but at least i learned 40mm doesn't vignette on the p4k with the elmoscope. 35mm does vignette with the elmo but since i usually crop the sides it would probably be ok. Thats a test i want to do soon. One layer of masking tape allows for a nice snug fit with a cheap 77 step up filter and nd on the front of the elmo. Had some issues with my cheap card dropping frames so the samsung t5 ssd holder is back on duty slung underneath. Has anyone found a usb 3 cable with a 90 degree end ?

I think you will find that the VF attachment will make a big difference.

I succumbed and bought one. I will test more fully over the next week. Ergonomically from a stills view it's very much a urgh. No EVF makes life very difficult for me but i do have the VF on order so maybe that will change things. Cine mode. DNG. It's heaven. This is all you need from a camera. I've side by sided UHD 8bit onto SDXC vs A7sII UHD Slog2/Sgamut and there's no joke. It's almost comical. The low end and the highlights are literally playing in different ballparks. What crushes the A7sII footage is the compression. Simple as that. So that 8 bit UHD is remarkably good. I'm pushing and pulling it and comparing to the same thing shot FHD in 12 bit and it's incredibly robust - so much more than it should be. Over the next week i'll push and pull properly. I got it as I needed a lightweight B cam to my Red for a shoot - so i need to intercut and i'll be finding it's comfort zones side by side with everything. So far the best resolve post in in ACES. My fear with going into any 709 space is that the camera native spectral response will be outside of 709. All Sony sensors push red way out and it's easy to see with bright red subjects. If you don't debayer into a larger colourspace then those reds get clipped or mushed into gamut. I don't know enough about DNG support in Resolve but visually into ACES appears much better. The only other valid option i think is Linear in, certainly none of the BMD Presets as they're for very different sensors. Cheers Paul

Actually, the NX30mm 2f seems to be smaller at 61.5X21.5mm (and 85gr)than the 63X25.5mm (and 100gr) of the Lumix and quite fast at 2f. Canon EF-M 22mm is 60,9X23,7mm 105gr. https://www.samsung.com/uk/camera-lenses/30mm-f2-0-pancake-lens/

Not just at the start of the shoot, but also any times there is a shift in lighting during the shoot.

I haven't got a Z6 but looking at the manual, there is an additional attenuator function if you can't get the line level signal low enough with setting the gain to 1. I don't know whether the H5 can generate a test tone but if not you can use a site such as this to generate a wav file that you can play out on it to calibrate the level on the Z6. And the GH5 for that matter. https://www.audiocheck.net/audiofrequencysignalgenerator_sinetone.php With regard to the Ninja V, it can record whatever is coming through the HDMI or through its own 3.5mm input. To make sure that any delay is constant, I would record what's coming through HDMI from the Z6 rather than putting the H5 output into the Ninja V directly. It will likely compensate if you did connect it directly to the Ninja V but its adding a potential variable that isn't worth having as I'm presuming your master audio in the edit will be from the H5 anyway and you will be post syncing so its best to guarantee that you are keeping the reference audio from the Z6 in sync with itself. More broadly speaking though, if you are going to be doing these two camera shoots a lot then if it was me then I'd look at investing in a timecode solution (if for nothing else than reducing your cabling ) Atomos are finally about to release the AtomX sync module for the Ninja V and this would let you set up a very effective wireless timecode network with a couple of Timecode Systems Ultra Sync One units attached to the GH5 and your H5. As Atomos have also just bought the Timecode Systems company, the compatibility should at least not be an issue between the products ! The total cost would average out about £200 a unit but as I say, if you are doing this a lot then thats a small price over the long term for the reduction in hassle during and after shooting. https://www.newsshooter.com/2019/11/14/atomos-atomx-sync-first-look/

their still pre production are they? hopefully they tone them down a little we are alot like Goldilocks aren't we, not too many flares, not too little flaring ?

Hey guys! I wanted to share my latest project and there's no better place than here, where I started! The price of scopes on ebay only goes up. To counter that I spent the last two years researching and testing out ways to achieve the anamorphic look WITHOUT actually using scopes - which I call "anamorfaking". Then I turned all of the research into a 170pg guide and put it up on my blog. http://www.anamorfakeit.com I get a lot of suspicious (not to say dismissive) looks when I say I'd rather shoot anamorfake than use most adapters out there. Many folks think that REAL anamorphic will always be superior and better. I'm here to challenge that perspective. If you go on the link above there's a quiz featuring ten images that mix anamorphic, anamorfake or both techniques. See how well you can tell them apart! If you get all correct, there's a discount for the new guide. You can also check the first few pages for free here: http://www.tferradans.com/anamorfake/TFerradans-AnamorfakeDemo.pdf Have you ever used any tricks to craft the anamorphic look? Lens mods, oval cutout filters, fishing line, letterboxing, etc

Don't dwell on it. If your film is good enough, it's not an issue. If they want to show your film, they'll find a screen for it. If they don't want to show it, the fact that they have a spare theater with the right aspect ratio isn't going to magically make them want to screen it.

It's a sign that we're flooded with options, but it's really hard for me to say this is a good deal for video shooters. There are better options out there in that price range. If you want to go with Canon you might as well go with the 90D, at least you'll get DPAF in 4K. The better battery life alone is worth the extra $200, not to mention 120p in FHD.

As I said, the apps have additional tools beyond what the Panasonic app does though and this mitigates the lower resolution for me. FieldMonitor is more comprehensive but Gmonitor has the same edge detect function. The only solutions if you want to maintain the resolution is to either use cable and a regular field monitor that has its own focus peaking or my current pimping product of choice the CineEye which will give you a combination of both 1080p quality and wireless transmission to an app with the extra focus tools.

i did the quiz.... 5/10, which isnt that surprising as i think i overthought a couple of those photos. At least i can say i'm halfway knowledgeable ? not sure why but it takes ages to load the shop page, several minutes for me anyway, but i found out this morning it does eventually get there. I'll end up buying the guide in a couple of weeks, i look forward to learning some more.

I've mentioned this site before but it allows you design foam cutouts for gear. Its predominantly designed for Peli and SKB cases etc. but can give you a good idea of how much space you'll need in a new bag. It doesn't include every brand or model of camera but there are enough to give you a good idea and if you want to be more precise for your own specific gear you can import images of it to trace. This is a really great tool if you are as spatially challenged as I am. Which explains why I've just managed to do this and fit a C100, GH5, MavicPro with controller, two lenses, a Rode NTG2 and spare batteries for all of them with room to spare in a Peli1510 when in my real 1510s with my haphazard arrangements I'm lucky to fit half that in ! https://mycasebuilder.eu

Yeah I cancelled the preorder. Used the money to purchase a Mix Pre-3 II instead. Audio upgrade was more important for the documentaries I'm working on.

Don't get me wrong, i am enjoying the platform too. My iMacs have been real workhorses and FCPX is a gem. But when you get into a situation similar to the one i described above you are forced to reconsider the real value of these products, especially the hardware part. Imagine paying 4500$ from your hard earned money for a laptop and then plugging in your earphones to avoid listening to the 2000 pops that will be produced during an editing session. Then imagine claiming your customer rights from a company that like @kaylee said above "doesn't talk about it". Also, the customer support in USA is way better than here in Europe.

GH5+ Bolex 16/32/1.5x + Voigtländer 40mm f2 + ProtoDNA. Run and gun. Shot 90% wide open at f2 and 10% at f2.8.