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wow... more X-T3 firmware 4.00 details leaked

Shot on EM1x, looks very very nice. They used 17mm 1.2 and 25mm 1.2 with segments on the 12-100f4 and 300mm f4 according to the comments. Love the handheld tracking shot using a wheelbarrow at the end.

@BTM_Pix I have actually been working on something very similar the past few weeks. I did a couple (janky/terrible) proof on concepts last week with it and it's surprisingly easy. I had it running in about 20 minutes. For hardware I was using a Rift S, and software was Unity and using OBS to capture. Very cheap and easy. The difference was I was actually wearing the headset as well, so I could see the entire scene around me, and I was holding a "virtual camcorder" as the controller, which was sending its "display" to a second monitor for screen capture. The biggest problem was that the headset was wired to the computer, so it would only work in a small space. It should be possible to do all of this on the Quest for wireless connectivity--I'd have to figure out how to compile Unity builds for the Quest first though.

Err, you first.

Hello there ! Here is the second (on four) of a music video of french singer Esteban Luc I’ve done. This second one is about young teenager. The upcoming third and fourth one will be about teenager and young adult. Each month one of this music video will be published. These four videos were shot in anamorphic with Aivascope lens. GH4 + Pentax-m 40mm f2.8 + Aivascope Pro 1.5x anamorphic lens + ND filter. Thanks for watching !

It depends what the purpose of the testing is and the source. The 'A' weighting is the most commonly used as it is shaped by typical human hearing responses, hence why it is the one used in assessing risk of damage to hearing. The 'C' weighting includes the lower frequencies not addressed in the 'A' weighting and a flatter response between 80Hz-3kHz to better reflect human hearing becoming more linear at louder sounds levels. The 'Z' weighting is flat across all frequencies. Due to the ubiquity of the 'A' weighting it will be a more universally accepted/relatable measurement (when the local authorities come round to measure noise they will use 'A' weighting for example) but 'C' might be more appropriate if the sound source is very loud or contains a lot of low frequency content. So, as a very simplistic answer, if the purpose of this new door is to reduce the annoying noise coming from your musician neighbour across the hallway practising for his next gig, then if he's playing a xylophone I'd measure its effectiveness using 'A' weighted whereas using 'C' weighted would give you a better indication if he's a bass player. https://pulsarinstruments.com/en/post/understanding-a-c-z-noise-frequency-weightings

Great stuff that your getting from this. I'm telling myself over and over again that I don't need this adapter but it looks great and ticks most of the boxes for usability.

Most likely making your interviewee look good will be your top priority, so some sort of diffusion is a must (be it a Light Dome from aperture or some generic soft/octaboxes - both will do). Adding a grid to the abovementioned softbox, so that you can control its spill, is also a good idea. I'd say that a fresnel is a more specialized tool and probably you wouldn't use it that much, especially during interviews.

I see two mindsets when it comes to overall consumerism, people who concentrate on what they have and people who concentrate on what is for sale. The people who concentrate on what they have follow this logic: Use what you have to do what you want to do On some kind of regular basis evaluate how well you did (at the end of each project, maybe annually, etc) Identify what are the most significant shortcomings are in your work, then work out how to address them If any of those shortcomings are from equipment, then have a look at what is available and if something will help you then buy it The people who follow what is available do this: See a new camera is available Read many reviews, trying to sift through the vast discussion about their positive features to find the little 'gotchas' that indicate the limitations of the equipment Watch endless sample footage, fantasising that they are somehow a different style of film-maker living in a different part of the world Try and compare multiple products that are all designed for different applications against their poorly understood requirements Buy something, maybe multiple things Spend ages working out how to make them work Discover all the hidden limitations that weren't in any review because the reviewers were all trying to be first to beat the YT algorithm Maybe film something Then, 2 weeks later another camera is released and back to the beginning with you! Out of all of my many flaws, one thing I can claim is that I started with a $97 point and shoot camera on my first overseas trip, and every upgrade since then has been based on me using the equipment I had in the real world, looking at the results, and then upgrading only when the weaknesses I wanted to address required equipment, as opposed to education or practice. I love equipment and technology, but I'm far more interested in getting the most out of what I have rather than buying new stuff because it looks shinier than what I already have.

Thank you @Andrew Reid for that explanation. I’m curious how much more a camera like a GFX 100 would cost if they had a processor that could handle that type of conversion. Also I found this GFX100 footage.

When you get hard edges like bright white pixels on a completely black background, it'll look more jagged on a camera that is pixel binning or line-skipping - that is aliasing, and it creates a distracting shimmering effect when the subject or camera moves. Moire throws up colour patterns from a similar process. Very fine detail can shimmer or take on a rainbow pattern. No the Alexa and RED don't have any of this, even if you look close. When you have to downsample from a high resolution stills sensor like 100MP to just 8MP required for 4K, you have to throw away a lot of pixels or find a way to merge these pixels into larger pixels. The GFX100 is doing some snazzy downsampling but it isn't reading the entire 100MP, that would be too slow for 24fps and create too much data to handle. I am happy so far with the 4K though. There is nothing quite like it!

This is turning into one of the most illuminating threads on this forum. Learning a lot.

I've found the best (cheap, light, etc.) solution is the Tilta Sony F970 battery plate. I mount it on the top right side of my SmallRig cage, above grip (buttons are still accessible). I use 6600mah "Powerextra multifunctional" batteries that are $20 each on eBay. I bought four and I don't think I ever used a third on a shoot. These particular batteries are useful because they have a USB-out and DC-out, which can power a monitor. I also got great audio straight into the phantom powered mini-XLR and 3.5mm audio jacks. Curtis Judd has a video on it. I've used wireless receivers, shotgun mics, etc. all with clean results. Make sure your settings are right and you feed it a hot signal (the new Rode NTG5 is great: light weight and hot). That is a major plus, to not have to mess with a separate recorder or mixer. If you have a relatively simple shoot, you can keep the package compact, light, and cheap.

I recently enquired to some Make Up Artist Youtubers to feature in a small brand campaign. All of them had agents. On the lower end at around 100k subscribers , they were on average around £18k to hire for just a 4 hour shoot. On the higher end at around 18 million subscribers, average £100,000 for the same. On top of that, you’re limited to £1k worth of ad spend per campaign and only usage of the video for a month. Never knew YouTubing was that lucrative, and stringent.

I thought every creator was trying to hit that 10+ mins mark (sometimes by fluffin' their content with nothingness). One time Pewdiepie uploaded his content and half/0.5x speed so it would extend over the 10+ mark and viewers would have to 2x speed to get it up to normal pace (doesn't quite work btw) for the 5 min video. He also dropped in words like 'real estate', 'investment' etc into a video once to get the YouTube algorithm to feature higher profile ads with more revenue.

Fuji's lenses are what frustrate me the most. They have it backwards. Fast expensive primes: loud, slow focus, not weather sealed. Slower primes: weather sealed, faster focus, not as fun to use and look ridiculous with my large filters. Ultrawide zooms: either don't take filters, or aren't weather sealed. The 14mm 2.8 and the 23mm 1.4 both with the manual focus clutch would be an awesome 2 lens setup for video if they were updated. 14mm on a x-t30 with a gimbal, and the X-T4 with 23mm for handheld. My hope is fuji have been quiet about the lens roadmap because they don't want to hurt current lens sales by announcing too far in advance that updated lenses are coming in 2020

Bite your tongue, young man! I think it's only gotten better since you know who was choppered away. Yeah, those church scenes were amazing. But if the whole thing has been shot on an Alexa, I don't know what happened. Maybe Gimple replaced the DP and editors too.

Yeah I think Cinema 5d really f'ed up with their dynamic range testings on it. The Pocket 6k is way overlooked image wise. It really goes toe to toe with almost any camera out there.

Agree, but sometimes peak current draw is too much for one battery, I believe... Especially if you have powerful spec like 8K going on

Thanks, I can so that's the direction I'll go. Chris

I hope it's the same source that told you about 6K 60p and anamorphic modes on X-T4! 😛

I hope not...

Don't worry, those baby yoda toys are going to bring in way more than that.

You do know what forum you are on right? 😂

I can see a digital bolex style body which you slot your phone into. Shame the smartphone lenses are still quite clinical. C-mount mod anyone?

You've never shot it to an external recorder, creamy smooth insane highlight recovery in S-LOG. It's a whole different camera. Also for me nowadays resolution is secondary to color and handling. I wouldn't go for a FS700 for this reason over it, or the origional Ursa 4.6K. The F3 has those ND's, XLR's and a solid body. I also far prefer SDI to HDMI when using an external monitor.

I for one can't wait for 300$ chinese anamorphic clones to start coming up.

Having fun with a lighting test, thought it showed off the rendering pretty well. Nikon 24-70 2.8G at 24mm on a Nikon Z6. Shot in nlog, graded with ACES.

I love how that Vazen 28mm looks on the GH5 - it almost feels like it was made for it. Shame it's not a bit cheaper

That Vazen looks really cool. If you're into anamorphic then it might be a situation of "the only lens you'd ever need" having the width of a FF equiv 31mm spherical lens, putting it squarely between the 24mm, 28mm, and 35mm lenses. Many classic films were shot on a single prime, and that one isn't too big or heavy (720g), unlike the 40mm (1.8kg).