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I would like to thank those who provided feedback, which helped make the app better. Below are codes for 2 months free use for the app. Thank you again, and happy holidays. ? https://play.google.com/store?code=Y1ZP8G4ZX46M6HUM313CZ1U https://play.google.com/store?code=BS1MU7731LR9189K183BFA1 https://play.google.com/store?code=V1F10FDPNCJJ4Y5BJFAX0NX https://play.google.com/store?code=V8S2V8AZ08YE0MUVDZH0MWV https://play.google.com/store?code=8MA5U9PGC9QKDZRJANRYMF1 https://play.google.com/store?code=HM4SJUHK43CG7NNJX39JX1G https://play.google.com/store?code=PRYFRF1WWHJWBFK7Z7JZEQC https://play.google.com/store?code=5XTXJ33K0Y72EJZSRJPRQ1M https://play.google.com/store?code=904KNSU0KS10TMJ3FUR7WR1 https://play.google.com/store?code=9TFQCMUFKE4SL2LLJ2UQ7N0

In light of the recent arguments on EOSHD I thought it'd be cool to think about how awesome it is to be a filmmaker/videographer in 2019 going into 2020. We don't have to settle for crappy 8 bit anymore on anything less than $5000, we even have multiple cameras that shoot compressed raw and/or ProRes for less than $2.5K! We have lenses from 3rd party makers that not only don't suck but are better in some cases. Wireless monitoring and follow focuses are affordable now!? What!? Our options for post are incredible, too - We have Final Cut and Resolve that are rock solid and Adobe... Adobe sometimes doesn't crash now! ? Frame.io and Vimeo review help make working remotely way less frustrating We get to bash Canon while shooting on Fuji/Sony/Nikon/Blackmagic instead of bashing them because we have no other choice And on top of that all we have places like here where we get to talk about it all and get help and share our sometimes very strong opinions ? I hope you guys see my sarcasm where I sprinkled it in. I encourage you to go ahead and post what you're grateful for:

Sony only competes with RED on Venice level. Sonys mirrorless offering is imo in awful shape for serious videographers & filmmakers in late 2019 with one of the lowest bitrate 8-bit codecs and no clear competitive video oriented solutions (cough *A7S3 AWOL*). And even when you step up to the FS/FX line, Sony has no direct internal Raw options unless you fork out for a $2K add-on device. In short, Sony shouldn’t even be mentioned in this discussion imho. When you think of RED, you think of their game changing compressed RAW. REDs move into sub $7K cine cameras is mainly to counter BMD, Z cams, C200/1DX3, and all the other cams that may offer RAW, BRaw, ProResRaw etc for under 10 grand. As compressed RAW patent holders, REDs main concern is that if they can’t beat the competition in court, they can try in camera shops with something like the Komodo.

Here is my P4K Film - Rec 709 LUT with built in natural highlight roll-off. I created it for myself for monitoring & fast colour correcting. Hopefully someone here might find it useful, if you do let me know what you think! P4K - Rec709.cube

FF Photo Canon 24-70mm f/2.8 HD FF video @ 24mm HD FF video @70mm

I have lots of experience with both J9 and C/Y 85/1.4. The Jupiter is a big hit and miss, like most Soviet M42 lenses. If you get a good copy, you'll have tons of character, easy flares, lots of bloom and sharp results wide open. Not a contrasty lens unless stopped down. Getting a good copy is a tough process though. You can go through a dozen of them before finding one you like. I certainly have. Contax: the 1.4's are all fring-y, chromatic aberration-y wide open. The 35 is the best performing wide open of the trio. The 50 is notoriously bad wide open (think blooming and intense CA). The 85 has no blooming and CA is mostly controlled, at least in my copy. But good luck getting a close up in focus if everything is not bolted down. hahahaah Here's some more info on my set and the decisions through building it - https://***URL not allowed***/zeiss-contax-cine-tune-up-guide/

I really wish this thread didn’t start. This is a camera forum guys. I love how we can all come together to talk about something we love. Why ruin this with such a decisive topic? Obviously, we disagree on this issue, but that isn’t what this forum is about. Go on reddit for crying out loud!

RIP my Aussie friend. May you enjoy the afterlife and start filming that Clive James Postcard wherever that may be... Here is his incredibly dry and witty portrait of Berlin, one of the TV shows that inspired me to go there in the first place. I ended up spending nearly 8 years there. Clive James was huge in the UK and his programmes were a weekly must-watch for millions of British people. I recommend checking out everything he did - be it the books, which are fantastic, his poems, his TV shows and documentaries.... he's one of my all time favourite writers and wits. He leaves a big hole in British culture, much missed. https://www.bbc.co.uk/news/entertainment-arts-13437293

We enthusiasts and pros are the success story of the entire camera industry. The entire DSLR filmmaking, and now mirrorless video revolution happened on a big downward slope for the a camera industry battered by smartphones. Now, with the not very passionate consumers gone, there's only us left...and now the central focus of ALL the camera companies, big or small. We are not a niche any more, and Nikon in their latest financial report expects enthusiasts, hobbyists, artists, filmmakers and pros to account for 90% of sales in the mid to long term. Going to write a blog post about that soon. We kept the passion up, when everybody else was losing theirs.

Its the time to be alive for Indie filmmakers. Cheap high quality audio equipment is also abound. The Zoom F6 has so much dynamic range its almost impossible to set the levels wrong all in something smaller than a loaf of bread. High powered high CRI LED's are also becoming affordable. The Pixel video light has a similar output to a 1500w fresnel and its only $450.

I enjoyed Unreliable Memoirs. I wrote a critisism of it for my Highers back in the day.

Having recently gone from X-T3 to the FP, and the fact that I’m on holiday in Denmark with my family at the moment with the FP, I’d say go for the X-T3. Not to say I’m disappointed with the FP at all, but the fact that I’m having to edit all the day’s footage each night in Resolve so that I can clear out the T5 for the next day’s footage isn’t the most convenient. And having the T5 strapped to the camera also takes away from the compactness of the camera. And I’d even be willing to shoot with the internal 8bit for the sake of losing the SSD, but, damn, fast sd cards are so much more expensive for way less capacity than the T5. Plus, for stills, at night, the FP’s AF isn’t ideal.

Used XT30's are going for a crazy low price right now around $700 + a used 18-35 is only $250-$270. If you are willing to go used.

I still might just to add some piece of mind lol.

It sounds like the job is done -- no J-B Weld needed!

cheap storage is big one for me. ssds and sd cards are really coming down. even c fast is starting to kinda

I've filled the holes with Plumbers Epoxy Putty and am gonna sand it down. I'm thinking of then doing a layer or two of JB Weld. The putty seems to have attached itself, since I sanded and prepped the area, and I've taken a hammer and hit it, and it seems to be holding. So I'm thinking, at worst, that'll fill the holes and then the JB Weld can coat and reinforce it. ??

Raven was definitely a more introductory model, but it had a huge flaw compared to Komodo - namely, it was still a part of the DSMC2 system. Which means that even if you could get a cheaper Red camera in Raven, you still had to spend loads of money to get a working model: Red proprietary media ($2-3k), large and expensive V-Mount batteries and chargers ($500-900), Red modules to get any sort of audio ($2k), a Red monitor ($2k), and a few other needed accessories. So while Raven was fairly cheap ($6k), it costs close to $14k to get it rolling on an all day shoot. On top of that, it had an old sensor with a 1.8x crop and bad in low light. And then it was also just as heavy and intense to use as any other Red DSMC2 camera. Whereas the Komodo may be just the price of a camera for a lot of people. Many users probably have a few CFast 2.0 cards, the Canon batteries can easily be found for $25-$40 a pop, lots of people have a good SmallHD or Atomos monitor (and if not, they are only $250-300) already, and the camera uses a brand new sensor that is supposed to be graet in low light and only has a 1.33x crop (or no crop with a speedbooster) - and you can get a variable ND with it with the Canon mount. So, the Komodo really may only be $6-7k to get a full working package up and running (price pending, of course). Big difference between that and the Raven's close to $13-15k. Plus the Komodo seems like it will be a much better, smaller, lighter camera.

If you get a good 16D then that's a really good place to start, but the Elmoscope I is the same rebranded & they are normally cheaper - not the smallest, but none are really once rigged up. I wouldn't worry too much about single focus, as they only really make focusing a little quicker & once you get used to dual focus you can hit the sweet spot very quickly with practice. The whole rack focus thing is a little bit of a red herring, as you don't need to be able to for the majority of things you shoot. If it's narrative you are doing, then a simple Shot-Reverse-Shot is such a common sequence when filming dialogue - so many different options & racking isn't the most common. I have an Iscorama & I very rarely rack focus - if I do, I always shoot another way so I have more options. About going wide or using wide lenses with anamorphic attachments - the wider the taking lens the more distortion you'll get. Longer taking lenses really improve the quality of the anamorphic attachment. And as far as sharpness goes, most films are shot around F4 - 5.6 - shooting wide open is such a skill to be learnt & so easy to mess a shot up that it takes more planning. You mentioned the S8, but it's a fixed focus lens so you'll need diopters & will have to move the whole rig forwards/backwards to get focus. The Isco Widescreen 2000 is the same but slightly bigger. Both are really sharp, but need a lot of practice & are ultimately too limiting. Oh, with a x2 on a FF you could always use a slightly wider lens & crop in post to cut out the vignette - I crop all the time with x2 lenses, even x1.5. My advice would be to get a 16D / Elmoscope 1 or 16H - they're cheap, good flares & have a large rear element.

Don't use an epoxy that doesn't bond with the case material (polypropylene). PC-7 adheres to a lot of materials, but not polypropylene. J-B Weld epoxy is good, but it is more like a liquid than a hard putty. I don't know much about J-B Welder Plastic Bonder, but I read that it work on polypropylene. If it is not as strong as (or more brittle than) PC-7, J-B Weld or plumbers epoxy, perhaps the J-B Weld Bonder could be used just to coat the areas on the Pelican case that you wish to adhere the stronger epoxy. Sand the J-B Weld Bonder after it has cured to create rough texture for the stronger epoxy.

The smaller the front glass element in your taking lens, the better. Samyang 85 features 72 mm filter thread, so the glass itself could be ~ 60 mm, whereas most anamorphic adapters have ~ 40 mm rear elements. Most likely, the additional stop of light Samyang gives will be lost in the process, because you'll reduce the area through which light enters. Not to mention it may introduce vignetting. That's why people rarely use Sigma Art primes. In theory they would be a great choice, but their front elements are even bigger than Samyangs'.

It's possible with nano-coatings, but I suspect that that's not what they're doing. I've said above that I suspect there's two factors, resolution and halation, and I suspect that the skin smoothing is halation. If you take a sharp image and apply a small amount of halation then it will seemingly smooth out much more subtle contrast areas more than higher contrast areas. I suspect that this happens because we're much more attuned to contrast on skin than we are on clothing, just like we're much more attuned to the colour of skin, as such things told us who was sick, who was angry, and who might be romantically interested in us! We don't have the same kind of tonal interest in the subtle variation of clothing or other non-human elements. Applying a certain level of smoothing means things when its done to skin - people photographing fashion are interested in contrast on clothing but not on skin. It's a different thing.

Yeah thats what I meant. Fuji to canon, canon to fuji or whatever needs be

This is lovely news. wondering why u didnt post about this before. Welcome the new changes implemented. This camera will absolutely shine. Just bought the new portkeys monitor to go with my p4k which has been doing wonders on few gigs. I am excited to use it on my feature shooting 2020. The GHalex has served me well Wish there were more examples of this with the p4k but I know there will be a lot coming out soon. Sage, you are the main man

You have literally no way of knowing this. RED has forced users to use over-priced accessories, they have a patent that stifles competition, and they're of questionable moral character, their marketing is mostly hype, but that doesn't mean that the cameras aren't capable of great imagery. Komodo directly addresses two of the biggest drawbacks - price and proprietary media, and they still hold the trump card of real compressed raw. Add on top of that PDAF and a mirrorless mount - there's no direct competition. Who are you to say that this won't grow their business?

I think they have an incredible high bar to meet so they are taking their time. The GH series cameras from the beginning are all about pushing the limits. I don’t need HFR 4K. I want practical features. Improved IBIS, recording to SSD via USB-C, USB-C power delivery, better DR, internal ND, improved weather sealing. A GH6 with these features and the 10-25 f/1.7 or a speedbooster with a vintage lens would be an absolute beast. An internal ND + speedbooster would be very compelling for even FF zealots. Removing the shutter, and replacing it with some kind of ND unit would be the single best thing they could do! Sensor readout speeds on MFT are really good. Just have electronic shutter for GH6 and the future photo-centric G9/G10/G11 or whatever can keep the shutter. AF, eh, I’m fairly happy now. Would I like PDAF? Yes, of course but I’ll take next gen DfD too if I get an internal Nd solution. Please don’t repeat another GH6S debacle. I would say they would do better to minaturise the EVA1 to fill the role of any potential GH6S.

Thank's jackch2n; coming from GHa, you will find some new things - Exposure comps and ABLs, the Gradient Chart, Highlight Recovery/HDR regions, and Gen.4 color

Thanks Alex! Appreciate the effort you have done to make this color conversion. Can't wait to use it on my P4K's footages.

Is it your first day of visiting planet earth?