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Well, its been a while and its changed quite a bit.... But this is your official 7 day countdown for pre-orders opening on 12/12/19. As the festive season is approaching then in true advent calendar style, open this thread every day for more stuff. PBC Tease 1.mp4

this is from the genius Sage. Brilliant work. cant wait to use this on the p4k shoots I have lined up. Sage has to do a pipeline tutorial because for some reason, folks arent following the pdf

I did the film festival / film competition circuit for a while and my takeaway was this. Content is the only thing that matters. I've seen barely acceptable videos with out-of-focus shots, shots where the camera got bumped, clipped dialogue, noisy dialogue, car sounds making it difficult to hear people, overexposed shots, and various other problems win competitions outright because they interviewed old people and got them to talk about sex and it was hilarious. I've seen films win best edit when the editing was clunky because the story was good, etc. Content is the only thing that matters. Content is the only thing that matters, content is the only thing that matters... content is the only thing that matters.

Don't do it, unless it's an experiment. Just stick with the approved media unless you want headaches. IF you do do the experiment, let us know what happens (dropped frames etc).

great tips, theres also a ton of stuff on youtube where u can just rip the audio

"Pocket 4K footage is precisely transformed to match the color science of the Arri Alexa, without compromise. This is achieved without artifacts, while introducing a smooth, organic rolloff." For the better part of the last year, I've been working to map the color of P4K BMDFilm to match my Alexa's LogC, as measured under sunlight and halogen. To do this, I wrote an interpolation program in C++ that can accept an enormous amount of data (~40k samples per camera), and interpolate smooth internal contours, or 'waves' between them. Exposure compensation conversions were made with the same interpolation engine (transforms replicating sensor color response with variant exposure). Another significant element of the project was to recreate Arri's Rec709 to maintain the entirety of recorded LogC gamut, in a film-derived envelope (for the display variations). This was particularly difficult, as the correct RGB primary behavior needed to be exactly replicated within contiguous 709, but smoothly diverge to HDR-like handling of far gamut (where Arri's Rec709 ends). This new envelope (EC Gen.4) is particularly impressive, and I may release it for the Arri, as it is significantly preferable to normal Arri Rec709. P4Ka PDF Emotive Color

Thanks man. This was the Rokinon 8mm I think? It's been a while since i've used that setup. It worked really well at the time though.

Yeah, I was surprised it had dropped in price so quickly.

Thanks! I am on GH5 at the moment. As far as my research took me, there were several companys who made this lens, and one of them claimed a lens a 8mm because they wanted to sale a "new model".. Nice video btw, good to see new and oldschool filming style cobined together

Great looking footage. The GH4 has a 2.3x crop in 4k

:46 is with that setup. I believe this was 1080p / 60p mode. 4k might crop a little more? You mean the 8mm 3.5mm, correct? No vignetting. The black Magic pocket looks better but there was no fisheye option at the time.

It's fine at 0 using this camera, there's just a tiny amount of noise exposing to the center. The image looks thicker and there's the great looking roll-off when exposing this way. Also since firmware 1.3 there's no more smear or even ghosting in darker areas.

Check out Attila's work: http://colorizer.net/

Yes, you can overexpose a little to (+1) only to avoid noise in shadow, but not so much (+2) how you do it with Slog this is shot at (0) and maybe was better to expose a little more...

Blocked and reported

I got some progrades off amazon the 128gb version and has worked no problem. Was a bit more cost effective than the others. I think they benchmarked higher than others and are rated 300MB/s (which is above 25p at 8 bit) cheers Paul

Not even the FS5 can do 10bit, not unless you wish to be restricted to 1080

I tried the Lexar 1667x, but as expected it was too slow (was thinking that 250MB/s was write speed, not read). Thinking the 2000x would work, but haven’t seen it bigger than 128gb. They’re all sooo expensive.

I've always loved the image out of the F3.

Firmware 1.3 seems to have solved both problems as seen here in Nick Driftwood's tests... Panasonic Lumix S1 Firmware 1.3 Beta Test - after images Improvements - YouTube: https://www.youtube.com/watch?v=__FtAEkMrLo Lumix S1 Blue / Yellow Light Improvements: FW 1.3 Beta = Better colour matching to Varicam & EVA-1 - YouTube: https://www.youtube.com/watch?v=iifX5bP46Tg

I think the 24-70/2.8 may be heavier. This is definitely a chunky camera. Chris

Here you are: password: nik100e Attention: experimental vibes! The weather outside is horrible (though I shouldn't complain, it's December already) so I had to come up with something inside these four walls. All shot @ f/2.8 Fuji X-T3, Zhongyi Lens Turbo II, Nikkor Series E 100/2.8, Schneider Cinelux

Google it, there are a whole bunch of sites and packs, bunch of stuff on premiumbeats and rocketstock (free packs) as well.

There are a lot of free SFX packs, including swishes and impacts, on https://opengameart.org/ I also have a hobby of recording sounds and putting them up on my site, I'd be happy to make some specific sounds for you if you'd like.

The Nikon Z6 seems to be the best option right now for 10 bit and auto focus, of course you need an atomos which is a pain in the ass. Until the new Canon DX comes out, though it'll be a lot of money I am sure. Of course there is Fuji if you aren't set on full frame.

Thought this was interesting, First shots are all Sony F3, second are all BMPCC 4K

I continue to edit down videos from my recent trip. I did bring the gimbal with me, but almost have not used it. So all hand-held again. Perfecting my ninja moves though ??

Figure out how to tell a story. Build a tale of high-stakes, conflict, resolution, redemption. Use whatever toys you have to accomplish that. Your gear is adequate, but I see that you're fretting so much about the technical. I can't stress this enough, it really doesn't matter. Your. Gear. Is. Good. Enough. That part is done. Figure out how to tell a story. Concentrate ALL your efforts on that. Don't worry about ProRes vs. DNxHD. Don't worry about this drone vs. that drone. Premiere vs. Resolve? Not really going to matter. Don't even worry about frame rate. Pick one you like. There, you're done with that. Anymore consideration into these things is a waste of time. A lot of new filmmakers fall into the trap of putting the majority of their efforts into equipment and specs because it's a somewhat non-creative aspect of the craft and results are objective and easy to understand and control. Avoid this. However, do accept that story telling is difficult and messy and highly subjective. Understand you'll make storytelling decisions that are flawed. It's part of the challenge. But you absolutely gotta do it as your main focus. Figure out how to tell a story. Does your protagonist have an antagonist? Can you frame what they're doing as a "hero's journey?" What sort of set-backs will they have to struggle through? Can they overcome those road blocks? Will you be able to film those moments to tell such a story? Is there a bit with a dog in it? These are the things that really matter. Also, making bad movies is depressing. I can't tell you all the corporate projects I've unfortunately done over the years where the singular goal was to put a camera on someone, have them talk to a dry boring interviewer, snag a few b-roll shots on the way out the door, and call it good. Bah. That's a recipe for mediocrity. You could shoot that crap on an ARRI and no one would give two shits except the people that got to play with the ARRI. And unless your subject is someone like Robin Williams on one of his cocaine benders, it's not going to be interesting. You want to make a film? A real film? Figure out how to tell a story. Okay, that rant over. You asked about DCP. So, I do a film festival every winter. We screen 8-bit .mp4's off a laptop at 1080 and they look fricking awesome. Why? Because we care about our projection system and have dialed it in with high-end equipment that's well-considered for the theater we use. Not everyone does this. Properly encoded .mp4's can look beautiful. Well shot movies made into DCP's can look like crap. Depends. It's not the file, it's the system that screens it. Here's another anecdote: I toured my doc around the country this year with an .mp4 exhibition screener as well as a DCP. The best screening experience I had was with the .mp4 running off a laptop into a consumer projector. It just so happened the particular auditorium was gorgeous AND had a new projector AND the image it put out looked lovely. OTOH, I had a screening of my DCP at a well known multi-plex chain that looked awful, even though my DCP looked absolutely fine elsewhere. Your film is often at the mercy of teenagers running the projection system...and who knows what state that projection system is in. Now, the bad thing about .mp4's is that it's such a generic format that inevitably some Boomer will be running a $400 laptop and a cheap-ass projector in a rinky dink film festival that's been set up in the town's abandoned bank lobby...with no window black outs and a complete lack of understanding how to operate the sound system. BTW, it's a sound systems that's a low-end PA in a room made out of marble. That sounds oddly specific, right? It's happened to me twice. None of your technical stuff matters one bit in that situation. When you're out in the wild with your screeners, shit happens. Finally, you absolutely do not need 4K for exhibition screening. People are too far away from the screen to notice that level of resolution. 4K is great for editing and then downscaling to 1080 for exhibition screening, but 4K for screening? Only in very specific situations. I get 4k ProRes screeners for our festival. I get DCP's as screeners for our festival. Take a wild guess what I transcode them into for playback on our system... Don't worry so much about the technical. Figure out how to tell a story

Time to Rig up my S1H & Ninja V with some cages ? i must say this setup is solid!Now waiting for Atomos to trigger that Raw signal anytime now?

AIVASCOPE 1.5x on Helios 44-m 58mm f2 @ full aperture on Lumix S1H I had a two hours time having in my hands the Lumix S1H in a workshop organized by Panajou Photograph shop in Bordeaux. This was shot in full frame 4k 24p 8bits then 10 bits 150 mpbs (after the desolve @3'48'') -my sd card didn't want the 400mbps- Unfortunately my old Premiere didn't liked the 10bits, I had to transcode it. Panasonic Lumix S1H Sigma adapter L mount to M42 adapter Helios 44-m 58mm f2 @ full aperture f2 Aivascope anamorphic lens variable ND filter +3 macro filter full frame 4k 24p V-log Few CC Lumetri Cinespace 25 Thanks to Aivascope Thanks to Panajou Photograph shop Thanks to Bernard Bertrand for his precious help Music : L'impératrice "Le départ" Gyoergy Ligeti "Musica Ricercata N°7"

From John Gruber (Daring Fireball): “This is how Apple chose to unveil the packaging for the Mac Pro — in a poorly-shot overexposed propaganda video by the White House, scored with bombastic music that sounds like it came from an SNL parody of a Michael Bay film. Think about how it feels to work on that team at Apple.” “A low moment in Apple’s proud history, and a sadly iconic moment for Tim Cook. I hope avoiding those tariffs is worth it.” BEAUTIFULLY GRADED! Apple’s latest ad is a brave new direction for the Cupertino tech giant’s brand. To celebrate, I have created the EOSHD Tim Apple LUT. The favoured look of the US President is perfect for factory tour videos or nationalist propaganda. The LUT has a muted, washed, bleached contrast with no life and no joy in it. So if that’s what your scene demands, be sure to use the EOSHD Tim Apple LUT today. Download the Tim Apple LUT (.cube format, free of charge, but at cost to your soul, 100% tested with Final Cut Pro X, Premiere and Resolve) "I Can't wait to see What you guys creates [sic] with this fantastic LUT" - Donald

H Hi, - it's been a long time :-). The short answer to your question: if you want both the easy way and the option to dig deeper get both FilmConvert and ColorFinale. The long(er) answer: Well, well, - it all depends. As a matter of fact I also have the fairly new CoreMelt LUTx and have demoed the KojiColor. They all have their weak and strong points. If you want good looking results, quickly and without much hassle - with LUTs - I think FilmConvert is a great solution. It has few LUTs, they are all good though, but FilmConvert can't load thirdparty LUTs. You can dig deeper in ColorFinale - due to the added curves, vectors and the layers, but ColorFinale has no LUTs preview function, - you have to add the LUT to see the result. The new $49 upgrade should include the option though. ColorFinale can load third party or your own custom LUTs I would say ColorFinale is a much better grading tool if you want to develop your own grades than FimConvert, - it is really good for both primary and secondary corrections. If it had masking tools it would be close to perfect. I find the color wheels are difficult to adjust though, but that might just be me. If you want to mess around with lots of LUTs CoreMelt LUTx has great preview options and nice browser functions for organizing all the LUTs in the world. Has also pretty good color adjustment tools. KojiColor like FilmConvert has few but well executed LUTs and some nice color adjustment features. Does not load third party LUTs. EDIT: If I should choose only one I would take ColorFinale. After spending a great deal of time lately with all the above plugins I think in the feature I´ll try and make my own style of "looks" and for that purpose ColorFinale is a better tool.