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Olympus 50mm F1.8 Zuiko is becoming my favorite lens. Just wanted to film some practice shots at work to color grade later, but the sharpness still amazes me. I held off buying this lens for like a year, regret it. The shot of the second helmet is just a split grade so that's why half of the shot is ungraded. Used muh A7iii

Some 6K frames from Chinatown in San Fransisco. Leica R’s.

I don't know, maybe that CEO suit is windy AF. He looks like the type.?

Please don't use a blimp indoors :-( And definitely don't use it indoors with a wookie condom on it!

The other day I noticed the sunset and decided to have a go at filming the sunset at super-telephoto so that the sun fills a large section of the frame and you see all the atmospheric distortions and stuff. First attempt was a write-off because I stuffed up the focus. Second attempt was better as I was able to focus better, and then closed the aperture a few stops to make sure I got it. I stuffed up the settings as I still had it on my normal auto-exposure and auto-WB, so that's why I'm only posting this still, however I think I'm getting closer.. This was shot in 4K but I think next time I will do a normal time-lapse and get the benefits of RAW and a better ISO as there is quite a bit of grain in the file. The setup seems to work though: GH5, Canon FD 70-210 F4 at 210mm F11, Canon FD 2x TC. Setup on a packet of oats for stability in the breeze we had, and on top of a pillar on the fence. I suspect that at 840mm equivalent that stability is one of the key factors here, and the oats seemed to do the trick. Once I get it all setup then I can probably put a bag of pasta or something on the top to further damp it and deflect some of the wind. Yesterday was cloudy so no sunset, but hopefully tomorrow I'll get another go with fixed settings and in time-lapse mode and I'll be able to post a video instead of just a still Anyone else shooting longer than 600mm, or 800mm equivalents?

I regularly shoot surfing at about 1500mm equivalent (s35 + 500mm + 2x). A good tripod makes all the difference. The hardest part is pulling focus on a moving object using photo lenses that have an increasingly tiny throw as you move towards infinity.

After using ok lighting (672C and couple 500LED lights) for a few years I decided to step up lighting kit this year, first to the flexible lights like Falconeye RX18-TD and finally settled on Aputure C120D II, and result is quite a dramatic different, I think for the first time we got client ask us what "filters" we use so the photog's photo can have similar colour as our video lol (and that was just a quick grade in Premiere). I really wish i had done this lighting kit upgrade sooner. Definitely will make some of the videos we did much better ugh. Light with Falconeye RX18TD: notice the subject is underexposed and background still overexposed, and the light gives a bit of magenta shift. Lighting with Aputure C120D II on dome mini II, subject is well light and background is well exposed, skintone is pretty good with no colour shift. Client asking what "filter" we use. Light setup for the day.

I just find a few comments here no less funny instead as well... ; ) Content is king not for anamorphic peepers, I see : D No worries, who professionally shoot taking care of anamorphics, they care much less, I will dare to write or nobody can't focus on the craft at all before to come here and read these boards! :- D When I was in the film school, a few colleagues of mine were used to spend a couple of rehearsals, literally, to choose the best for their casual look in the front of the mirror... LOL Such vibe reminds me that : X As foot note, nice to see you @Tito Ferradans over here along your insights, be who you are, no one cannot say anything much different than but thanks, it's a pleasure to read your thoughts on so unpretentious topic, you da man! : ) @kye you're the voice of the reason, thanks God you exist! : -)

Also head over to our gallery page for some footage downloads. https://www.blackmagicdesign.com/products/blackmagicpocketcinemacamera/gallery

Sorry, everyone, if I had known that Nikon and Atomos were waiting for me to sell my Z6, I would have sold it sooner.

Lighting and Lenses is what makes shit look Hollywood. "Camera choice is basically just the film stock." - William Wages ASC

Hi there ! This is my last (self produced) short film. I'm wondering if you can guess the gear used for this one... ? Thanks for watching ?

https://faroutmagazine.co.uk/david-lynch-twin-peaks-virtual-reality-computer-game/ Seems to be an escape room style game experience Rather it was just a cinematic one where you watch!! Deeply immersive not sure about the game part, but an exciting move from Lynch if he ends up deeply involved in making it.

Hopefully something minor like 8-bit-only 1080p. The 1DXiii is already at a disadvantage over the "C" series without internal NDs, 3.5mm audio input only, no exposure tools, and no angle-adjusted screen. It'll probably have no more than 13 stops of DR.

Ha! Great description. I'm finding Standard and Cine2/Cinema work good in a pinch with minor adjustments and I think the sweet spot though is SLog2/Sgamut3.Cine with +10 Sat. Then CST in Resolve to Arri or just an ACES workflow.

I haven't done any extreme telephoto work but this is my favourite example of it in a music video https://www.independent.co.uk/arts-entertainment/music/features/kendrick-lamar-kings-dead-music-video-zooms-black-panther-a8220841.html

Interesting film from Blackmagic... Shot on P6K, post in Resolve 16, and the credits say "Produced in 14 days" so presumably a short timeframe project. What I think is interesting is that (although it doesn't say it) I suspect that the whole production was done in Resolve, so that likely means that all the VFX are from the Fusion page. This would be pretty cool as I think that the Fusion page has huge untapped potential and we haven't seen it in use yet as the people who really know Fusion are off getting paid not being on YT. It would be interesting to see some BTS, especially of what happened in post for this.

I don't know much about the hardware, but you could get the Blackmagic Intensity Shuttle second hand. They're pretty cheap now and give you HDMI in and out via USB3.0 or Thunderbolt (depending on which model you buy). I'm not sure how LUTs and focus peaking thing, but at least this way you can monitor through any NLE's capture process. To be honest though, the original 5 inch Video Assist would fit the bill pretty well for your needs. It is very cheap second hand, and will come down more when the new models are readily available. It's a much smaller footprint than a laptop and you can mount it on the camera for the shoots where you are near the camera, but want a better view of your shots. I don't think the price difference between the VA and the Intensity Shuttle is all that much. I'm sure there are also other options available to you, but these ones spring to mind as affordable options.

I've been called it more than once! Blowing hot air was he?

Its 4k raw. I was just responding because someone already started the bashing of Nikon as always without even taking 2 sec to read the spec, he then retracted.

Even the light dome is too small for really soft light, well depends offcourse on what the subject is and how close you can move it in.

The Tamron 28-75 F2.8 is faster than the Sony 24-70 F2.8 GM And also sharper in the middle at F2.8 vs F4 on the GM... And half the price of the 24-105 F4.. which is an exceptional lens. I think it's the best 24-105 in the market right now. I have the 28-75 and i love it.

Then there are no BRAW settings since I'm targeting the timeline clip, not the master one. I've found it fixes itself after restarting Premiere and reimporting the clip but then for some reason breaks again after a couple of minutes.

Merry Christmas to all! I visited Malaga, Torremolinos, and Barcelona in the '80s, was fabulous!

@Rudolf I appreciate your points and the way you laid them out. Indeed Isco has the longest track record and it was never cheap. My biggest point for Sirui is that they made it in a way that anyone can just pick one up and start shooting. There's not much of a learning curve as there is with adapters, and that's good for us because it pushes everyone forward. We might (hope to) see something that bests Isco some day. The Aivascope 2 did a pretty decent job, for example. ?

ironfilm, with that beard i'm surprised you haven't been mistaken for a wookie ?

My guess is it will have XEVC and then we’ll be complaining that nothing can edit it.

This is episode 2 from our BTS/vlog from our journey to film a fictional short in Guatemala a bunch of weeks ago. Let me know if you have any questions or anything that could be improved!

Especially with the release of "The Mandalorian" just recently, and "Star Wars: The Rise of Skywalker" tomorrow, the risks of Wookie attacks are much higher than normal!

there's a movie in this, an anamorphic movie, with alternate endings for both types of glass, gentlemen choose your weapons and ten paces please, any closer and we'd need diopters ?

@Julien416 I agree. Let's agree to disagree ??? It's probably a fine point, but your original post said "all the people" and "everyone". I was just trying to bring some balance into the equation. You might be right that the vast majority of people shooting anamorphic want a less clinical look, but from my cine lens thread I also quoted some people talking about the Master Anamorphics: It might just be a pet annoyance of mine, but so often people talk in absolutes now, and I think it just divides people, creates friction, encourages polarised thinking, and discourages critical thinking. I find politics to be very prevalent with this issue - if "everyone" (or even "all" the smart people) share your opinion then there's no reason to talk about issues, exchange views, and heaven forbid(!) actually learn something new. Anyway, rant over. PS, if you want to shoot anamorphic on a budget then maybe buy the lens and dirty it up in post! Or buy a vintage spherical and crop it. Or whatever. This lens doesn't somehow make all the other lenses disappear. in fact, it makes them cheaper

I disagree. It might be that the defects are a common reason that people shoot anamorphic, but it's not everyone. Here's a video that includes the Zeiss / ARRI Master Anamorphic and it renders an image almost as technically perfect wide open at T1.9 as other cine lenses at T4. I suspect that shooting anamorphic because you want the flaws is a low budget thing (and because at low budget you can't get sharp well-behaved optics so there's no choice). It's like saying that people only shoot FF to have shallow DoF. Or MFT because they want a small camera. You might make the point that Hollywood cinematographers often like vintage glass because of the softness and rendering, which is true, but there's also a large segment of Hollywood that have the attitude of capturing things in the highest quality possible (meaning highest resolution and most neutral rendering) so that they can push the image around in post later on. It's not a POV you hear a lot, but lots of big movies are shot with this principle.

https://www.premiumbeat.com/blog/just-how-expensive-are-real-cinema-lenses/ Quote from the above link... "Panavision does not sell any standalone lenses. If a studio wants to purchase the lenses, they are usually restricted to purchasing them with a camera like the Panavision Genesis. For this bundle, one would be looking at shelling out $500,000-$750,000 to purchase or $4000.00/day to rent."

I just bought one. The more I use it the more I want a camera that pretty much eliminates the need for it 95% of the time. Here is a quick test I did 4 months ago with GH5S and 50-200 f/2.8-4 and Paul Leemings HLG corrective LUTs. It's a straight HLG -> Rec.709 conversion. No additional color grading. All handheld. Mix of 24fps, 60fps, and 120fps (the 120fps is Cine-D). Posting it here for anyone interested in the lens or camera combination.

Really enjoying the flexibility of the 10-25mm f/1.7. It's a great lens when you can use the Ex-Tele features of the GH5 or GH5S. GH5S only allows Ex-Tele in 1080p modes but that offers a 2.7x enhancement and makes the 10-25 a very flexible lens in this mode. The GH5 can get a 1.4x enhancement in 4K.