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before i found this forum my inclinations where left to right, large format, medium format, 35mm format , super 35, micro four thirds 😉

The phrase that we used to use when I was an IT Support Monkey was "percussive maintenance".

First post after visiting and enjoying this site for quite a while. I'm mostly into writing and looking to produce on low budget so it's interesting to read how others are getting stuff done with readily available gear. Came across this short and thought it might be of interest. Two versions on Vimeo ( via cinematography on Reddit ) and Instagram. Enjoy 😀

I want to see your results of fake anamorphic lens like Helios 44-2 Mod Bokeh-Flares. I am using EOS M2 RAW Footage with Viltrox Speed Booster. Do You Have similar footage? The only problem with fake anamorphic is that even when i decompressing the footage from 4:3 to 2:35 is still a bit too much stretchy (all the footage not only the background). I am trying new experimental shots this month for making direct recording RAW at 2:35 aspect ratio at MCM Rewire 1080p,it looks a little better but still not the same with anamorphic look of an original anamorphic lens. (My apologies about some errors in my English writing. Thank you.

To really love a camera it must be a comfortable, fast sportscar, not a mundane commuting experience. Here's what I've grown to like the most, from the past year of camera releases which I've owned and shot with. NEW BLOG POST!

Nothing changes, everything uploaded remains online. I know this because I have done this (also asked their support before stopping to pay).

Youtube compression doesnt like grain(facebook compression is the worst though), so I cant skip vimeo. Too bad the alternatives are so limited.

Vimeo's real business are film production companies who upload their screeners for clients and festivals as password-protected videos. That's why in the current times, so many films festival and arthouse theaters have been able to switch to streaming overnight: all they needed was to unlock their Vimeo screeners for larger publics. My own plan is to wait till support for the open AV1 codec will be mature on both on the client/browser side and the encoder side. I've already run a few encoding tests, and the quality is absolutely stunning at much lower bitrates than both h264 and h265. Once AV1 will be ready for the masses, hosting your own videos will just be a matter of uploading them to your web site/blog and hosting them the same way you host & serve still images.

I see videos on vimeo that i enjoy more because I follow those directors/dps/producers etc. there than I see on youtube. On Vimeo you follow those people and on Youtube you have commercial accounts and youtubers. Vimeo is for people who do videos I look up to and youtube is for everyday videos, gear reviews, tutorials and "general culture". But I no longer consider vimeo as a viable payment plan. Their user experience is too bad to recommend.

Most of it will be blocked/be no longer visible and only be unlocked when you renew the paid subscription.

I second that. I can no longer recommend Vimeo. In the last few years, I've had terrible viewing experiences when I don't have that issue on youtube. Vimeo is only recommendable for "community" but even that is no longer the case as it once was.

Yes ditch. Yes YouTube is the only viable alternative. Welcome to the fucked up US monopoly of internet services

Looks so good. I love the images from this camera.

Here it seems like an editing choice in the video. A purposeful chop / skip. Until I try this camera myself it is tricky for me to know what other people's shakey hands are doing 😂 IBIS can only do so much. Fuji has past good form with IBIS. Sony's is really weak, compared to my Fuji X-H1. Yes I plan to pair it with a Baby Hypergonar! Works on a Super 35mm frame at 55mm. I'd like Fuji to add a firmware update for 4:3 shooting, up to 60p. Max res. Sensor is capable of it.

These micro toggle switches might the way to go in terms of getting switches outside of the case and aesthetically they won't look too far out of whack with the Bolex. https://www.amazon.co.uk/Positions-Miniature-Connection-Arduino-Switches/dp/B07ZYKQ4F5 You have to buy them in a pack of 10 but thats no bad thing as you could use a few of them to toggle between different preset functions etc. This link will give you some example code based around Picamera to be able to start and stop the recording from an external switch. https://www.raspberrypi.org/forums/viewtopic.php?f=43&t=195019&hilit=Camera#p1221076

I'm not selling my other cameras as I need them all. I am often filming with 4 or 5 cameras at once. And I wouldn't mind a 6th for some shoots. When I get the P6K, it will be my main camera, and my P4K my B camera though. I could always have afforded the P6K, its price not that different to a GH5s. But I had to think long and hard over the merits of filming in 6K. File sizes, workflow. Plus there seemed to be more quality control issues with the P6K, perhaps being more rushed released. Time has passed, and what with the R5 coming out with 8K, the P6K price reduction, it feels a good time to invest in a 6K camera. I need a 2nd Pocket for Corporate shoots where I've been using the GH5s as a B camera, but I'm not happy mixing the 2. It was always a choice between another P4K or a P6K, and BM have helped me make my mind up.

Congratulations! All those years ago when I purchased my brand new BMPCC for US$500, I would have bet that by mid 2020 we could possibly buy a secondhand BMPCC for a couple of hundred bucks or less! But no, it took a long time before you could easily get a secondhand BMPCC for cheaper than what I paid for my new BMPCC! Took the release of the Pocket 4K to really give the prices a good shove down, but even that wasn't enough. Look at eBay currently: https://www.ebay.com/sch/625/i.html?_fsrp=1&LH_PrefLoc=2&_sop=15&_sacat=625&_nkw=pocket+blackmagic&_from=R40&rt=nc&LH_TitleDesc=0&LH_ItemCondition=1500|2000|2500|3000|7000|10 Only three pockets are listed for sub $500! And not by much, with the way bidding is going I expect they'll sell for more. Has my OG BMPCC held on to its value better than any other camera I've ever got??

I'm experimenting a bit like this using high SS and adding motion blur back as I have sometime the requirement to have photo and video at the same time. I also use remotes for photo but still would be nice to combine both so kind of compromise SS 1/250 or so... The motion estimation of Resolve is not too bad, is not like the real thing but it can fool non critical eyes. I also add motion blur for time shifts or with 360 camera where there are no NDs.... I did also experiment a bit using 5.5k 60 fps and slowing down in Resolve like it was done 120fps and not always but many times the result is much better than 1080p 120fps of the 1Dx The EIS in the 1Dx III with wide-angle lens and higher SS works quite well especially if you are not running around or so. Slowly moving works quite well but definitely not like on a Gimbal.

This thread didn´t help to stop me. As some long time forum enthusiasts @IronFilm might remember, I have been thinking about getting a F3 for a while. The term "mini alexa" didnt help me much for resisting. So I just bought an F3 with the 444 update for around 750 eu. It was 200 more than I was dreaming on spending as max. But then I was thinking, when will a 444 model come around again. Plus my FS700 gives 2K aliasing parade over SDI, so I would have to record 4K output to really make it shine. But then again, how long will I have to wait to find a deal on a 444 recorder.:) Crap, 750, these days, for a 1080p camera! Well, better than spending all on toilet paper. This video gave me the last push towards my weird purchase. Such beautiful colors. Darn, some talented people on this forum can achieves this look with a GH3 or a 5D3. Right? Anyone want a F3 with 444 output? I should stay away from dangerious threads like this one. cheers:) By the way, no cheap deals on the OG BM Pockets anymore.

Yeah, for the P4K Panasonic have 14-42mm and 45-175mm powered zoom lenses and Olympus have a 12-50mm. For the 6K, the servo thingy (Canon refer to it as the PZ-E1 which is a far less useful name ) could be used remotely with some modification as the 18-135 is quite a good range for this sort of stuff.

The silver Fuji X-T4 with that seperated stills and video mode is sex for me

Lovely image there! Well I ordered a Samyang 12mm f2.0 and it will be here tomorrow. I just wanted something really wide without spending a ton of money. I plan to put it through it’s paces this weekend and see if it will work for the style I want to shoot. I also have the crane v2 gimbal coming in which I’m excited about because I’ve been wanting a gimbal for some time. Should be here next week.

Tilt shift lenses are great but more for architecture photography rather than real estate. High end real estate shooters do use them sometimes but usually you do not have enough time. My nephew used to shoot real estate video and i loaned him my 17mm TS-E while I was without a camera but it is not something he used very much (using an a7sii). He now has his own company using a GH5. 17 TS-E can work for interiors too but again, often there would not be enough time. Many people just use wider lenses now with high MP cameras and crop. I will still use my 17 for this and lots of purposes though.

https://www.hackster.io/news/raspberry-pi-foundation-announces-libcamera-based-open-source-camera-stack-eb41f911c9f7 @BTM_Pix could you please shed light as to how this would help in the future.

A large and heavy "calibration instrument" is an R&D neccessity...

I love the S1 body.

Fuji's IBIS is like Panasonic's auto focus. They just don't seem to care.

The issue is they didn't do it right. It wasn't a pocket camera it was ginormous. And that is fine because lets face it you can't really do a small camera that has BRAW yet. The OG Pocket was pretty small but such a small body can't do 4k with the BRAW compression. Plus the OG body overheated. They should have made it even bigger and put a decent battery in it (something that lasted an hour+) they also should have included a tilt screen. Then you'd have a very usable small camera. However when you need to add an external monitor and battery solution it becomes a pain in the ass. A huge benefit for me with larger bodies like the URSA is being able to get good handheld footage. I was shooting on a 50mm lens in 1080p prores and got nice footage. If I tried that with my XT3 it wouldn't be usable at all. It isn't a rolling shutter issue either as in 1080p the rolling shutter is comparable to the URSA. I was almost shocked how much of a difference it made TBH. IBIS or lens OIS is pretty important with smaller bodies unless you are always using a tripod or gimbal.

All sounds about right, a shame as not interested in an 8 bit camera and I'm not willing to pay the premium for a stills camera with a RAW feature I don't really want when I can get a proper video camera used for about the same price. Is a bit like the C200 conundrum for me, 8 bit is not enough, RAW too much for my needs, just give me a decent 10 bit. Will stick with the Fuji XT3

2) The Pocket 4k/6k in a boxy design would be great I think. As much as I hate the buttons on the BMMCC (micro camera), I really like the form factor of it. Having a new Pocket Camera like this, with better buttons etc. would be a cool thing. In general, cameras being more modular in terms of external display, microphone, battery, recording media etc. would be a great thing.

Γεια σου πατριώτη! Nice footage! You're not supposed to decompress anything on a fake anamorphic recording though. It's still square pixels. So when you shoot with Magic Lantern, you should not tell it that it's anamorphic recording, but rather normal recording. Then it will appear correctly when editing. Here is mine from today (Canon M50, Helios 44-2, Viltrox Speedbooster, Vid-Atlantic anamorphic aperture filter). I also have a modded Helios 44-2 (that doesn't require the Vid-Atlantic filter to get anamorphic bokeh) in the mail, coming soon:

Great post! I think design, UI, and ergonomics are an under-reported element to our work. As every NX1 will say, it is such an enjoyable camera to use. Not just the chunky grip and sensible button placement, but the straightforward, simple menus deserve a shoutout. As a general use photo camera nothing comes close. Though I haven't used them, I think the Z6/Z7 are noteworthy for actually including a locator pin hole on the bottom--so simple, but so helpful. On the other side, the Z Cam E2 has some unique design choices that stand out. Lack of a grip makes gimbal balancing easier, and the presence of two 1/4-20 threads makes it super stable. Unlike larger pro cameras, it's tiny and much more easily managed for a single person crew. Then there's the phenomenal Z Cam app: wired/wireless monitoring and control from an iPhone. I noticed that! Definitely a nice touch.

I am using photo and video cameras for a lot of decades now (since when we only had film), nothing is even close to the NX1, it is just unbelievable how right this camera feels/is. Super AMOLED screens, everything can be done in at least 3 ways, best touch screen implemantation so far, and still the best menus ever (Black Magic are amazing too, but they are just video cameras and their screens are bigger). If you just grip the camera and take a couple of photos, then you are hooked for life. Best size to weight ration also for me,. I am waiting the new Canon R cameras, maybe they will be the closest thing to perfection.

+1 for the fp. Very rarely have to go into a menu once you've set it up, which is always a good sign but could maybe do with a programmable button on the front. One annoyance with the QS button is that it retains selection by numbered position rather than function so I leave it on ISO (which is option 6 when in Cine mode) as thats what I am most likely to change but when I change to Stills mode and press the QS is it is on the JPEG/RAW selection which is option 6 in that mode. Tell your mate about that one next time he is re-tweeting your pictures ! With regard to the SL2, I could have done with that faux leather finish on my SL as it probably would have averted the disaster I had dropping it onto the tiled floor.

Actually, I am kind of happy with the Fashion Low Contrast lut in the Varicam pack. I still do my exposure in a node BEFORE the LUT is applied, and just use the shadows / highlights and contrast / pivot controls. Then I do the color changes in a node after the lut is applied.

As someone who make their living doing real estate photography and video full time... Here is what the sony a6500 and 10-18 lens (which I actually recommend, although the 12mm Rokinon / Samyang is supposed to be good). Also used a Phantom 3 Pro (also called a P3P). I'm using the Sony camera on the first generation Zhiyun Crane. https://youtu.be/8S6NbTHqgxk The issue I would imagine the main issue with the Samyang / Rokinon 12mm is the distortion will have to be corrected. Might be less of a problem in still photos, more of a problem in video. The Sony 10-18 already has the distortion corrected. You really should think about doing photography as well, because your competitors will offer both video and drone and photography. And of course, you are most likely going to need a drone. Really, the most important lesson is that quality of photo is not as important to the agents as reliability and speed in turning around photos (and video). And for 95% of real estate agents, price is a BIG factor. I am a bit of an anomaly because I charge MORE than my competitors and I do strive for more quality in my photos and I take longer to turn around photos and videos. There is a smaller group of agents who will work with me. With the shelter in place order, I have seen more requests for video from agents who don't normally request video. I don't know if that will continue in two to three months as either states relax their shelter in place orders, or people just get tired of following the rules and more people decide to disobey them. Oh, and you are going to want to use SLOG 2 with the s-gmaut.3.cine picture profile. There is a tool (can't remember the name) to transform that combo into ACES. I can look it up later for you. With real estate video, dynamic range is pretty important.

Well its a nice day here so I've set myself up on the balcony to do this al fresco and have gathered together the components that I need for my particular style of product development.

Hi there guys! 2020 mirrorless compatibility check. So yesterday, i got myself the EOSHD C-log, to be used on my Canon EOS RP. And i can safely say, it works! I posted a video showing the difference between the eoshd, another profile, and Canon's in camera neutral profile. You guys can have a look and be the judge of it. Although the test wasn't exactly the best test there is, don't worry. I'll post up another video testing out the EOSHD profile in more detail. Check out the video here And Andrew, my personal opinion, that extra LUT you bundled in the package was definitely awesome! I especially love the CINE LUT 2 (shown in the video below as well), which i can see myself using a lot in the future. Just waiting for the quarantine to be over, and i'd probably share more of it here. Haven't tried the scarlett and other profile you bundled in there, but they do look promising. Will definitely check them out soon. and Andrew, thanks for making this profile!

Just popping in to say that I quite like Deep Impact. Coincidentally, this thread couldn't have been more destroyed if it had been hit by a giant comet either.

@Django Check out this list https://pdnonline.com/gear/cameras/the-best-cameras-for-color-reproduction-ranked/ TBH I am really confused as the Fuji's are up at the top directly followed by Sony. How can they both be super color accurate while both being very different?

Don't worry about the R5 bashers. Haters gonna hate. Watch em come around in couple months.. CS is a tricky subject, there are a few dedicated threads about it here. Most of them don't end well lol.. Canon is known for their warm skin tones and Reds that pop. Clog is also pretty easy to grade. RAW 14-bit is glorious. Pleasing CS doesn't necessarily mean accurate colours though. Strangely you will often find Sony on top of color accuracy rankings. In the real world however, Sony are often last in the CS preferences. doesn't help their WB craps out as soon as mixed lighting comes in. That said I love Venice CS and shoot almost exclusively with the Venice LUT on my FS7. I haven't worked with recent BM cams but generally speaking the ProRes & RAW footage from them grades beautifully. My problem with BM is they can be unreliable cameras. Some Ursa Mini 4.6K had magenta cast issues for example. Very difficult to get rid of.

Deep Impact is a 90s flick, it was shot on 35mm film with an ARRIFLEX. Strange example to bring up in a CS discussion about digital cinema. I wanna say CS isn't an issue in Hollywood. They shoot the flattest log or RAW footage and then send it to a pro colourist who will dial it in. Recent Canon Cine Log tries to copy ARRI's Log C. Sony FX/FS have Venice CS. S1H/EVA1 I'd assume aim towards VariCam CS. Those are the industry standard. On most consumer cameras, picture profiles & log follow other standards. One of the reasons why cine cams rule imo is they can load custom LUTs and you can also paint in camera. Very practical when you're going after a specific look and don't have time/budget to grade log/RAW footage.

My point was that I doubt the Digital Bolex D16 would have seen even half of its (limited) success if it had been a 1/2.3" sensor instead of a Super 16mm sized sensor.

Useless without the 4:4:4 upgrade. That is the only reason to get the camera at this point. I love my F3 but only because of the 444 slog

If you like lugging around very old heavy cameras, yes.

No, they don't include Resolve with it. The Mini-Pro is definitely worth springing the extra money for purely for the multi-view function alone. There are workarounds with HDMI splitters and quad viewers that can give you the same thing, albeit in a more limited fashion, if you have the Mini and add around £150 to the total but it is a bit clunky. In a world where the Mini-Pro didn't exist this was perfectly OK and might still be if budget is an issue but its a more clunky solution and gives you more points of failure which is the last thing you need in a live situation so I'd say absolutely get the Mini-Pro if you can. The functionality of the Mini and Mini-Pro to turn the Pocket4K/6K cameras into studio cameras is something that puts the Mini range way ahead of the more expensive ATEM Studio HD that I have. Being able to control the cameras and colour match them is a very big deal and with the Pocket4K you also have the option of a few servo zoom lenses that you can control which again is a big deal if you are working on your own. Another big advantage of the Mini range is that they run off 12v so you have the option to be truly mobile if needed.

They already had their original ATEM Mini, I wouldn't be surprised if they had already had plans to work on an updated "Pro" version. And once they saw coronavirus sweeping the world and there being very high demand for their existing streaming gear, I think it is not surprising they'd put all their focus into getting their next product out the door in just a matter of weeks. Seems like there is nothing else which can beat the ATEM Mini Pro's features for a lower price. But it's up to you as to if that is all you need, or maybe you need more, or less?

Yeah tbh "cinema" cameras are kinda cancer for run and gun doc work unless you have a crew of 3 or more. FS7 and C300mkii are the real top dogs for doc work. Can't beat built in NDs and XLR inputs if your a small to no man crew