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So many times I wish I were a photographer instead You can get a beautiful shot with a camera that looks the same whether moving or still... But movement always has to justify itself. If the frame floats or moves with IBIS, shot dead. Mood gone. It's such a fine art. Camera movement is such a fussy thing. It's like colour - There's no point it being there unless the movement is beautiful or has meaning. Otherwise, may as well be still - or black and white. With a photo you can just make a pretty shot and it's job done. It's about timing, framing. With video you have to sustain all that's nice and has meaning for 10x longer. Sometimes 1000x longer. With photos there's the one-man nature of it... with video, you have to rely on others a lot more - actors, writers, and so on. And that's before you've even started the shoot Sometimes I hate video. And think I'd be better off with a Fuji GFX 50R, just enjoying myself. Just one man and his camera. With video, you often have to lug around rigs, tripods and monitors. To anybody who sustains their filmmaking over the years at a high level I salute you. It must be incredibly stressful!

1/4000 would be typical in mid-day sun. I'll shoot some video tomorrow and apply the trial plug-in. See what happens. Usually have a bunch of ravens flying around....filming that should provide a decent stress test.

Yeah if there was a clearer path to education I'd definitely take it. From what I have seen film schools are often kind of a joke. At least that is my opinion after having worked with multiple students from these schools. I will also say everyone of these students have been very talented people. I just don't think the schools have taught them much. I learned more on my own from simply making my own films, working with other people, reading books, and articles/youtube. I did take the time to actually buy books on lighting, cinematography, and sound early on though. I feel like reading is unheard of these days unless its an online article haha. Interestingly I've found that a lot of online information especially mainstream stuff is really poor. It seems to often be written or produced by people who know very little about the actual subject but rather are just good at marketing themselves. Most filmmaking stuff on youtube is so basic and generic. Most experienced people are busy actually working and have no time for YouTube. So rather we get these wannabe filmmakers who are really just youtubers and there experience doesn't really go beyond that. There are exceptions to this of course. As to the "just do it" attitude I think its complicated. A lot of it comes from YouTube guru's, motivators and entrepreneurs. The big thing with YouTube is you just need to convince people you are an expert so they will buy your classes. I just saw a youtube ad the other day and it was a 15 year old kid talking about marketing! The kid was wearing braces haha. He was saying how he learned from the best and wants to tell you what to do with your money. It was completely ridiculous. At least someone like Tai Lopez took the time to get a lambo and huge Cali house to convince people he was a finance genius. Its the idea that to achieve something you just need to jump into it and fail until you succeed. There is of course truth to that but people take it to the extreme. Claiming to be something you are not professionally is fraudulent. I have worked wedding jobs being the sole videographer with very little experience. I feel bad as I often did a not so great job(at least in my opinion). That said my employers never told me I did anything wrong and continued to hire me. They also hired me in the first place despite my inexperience so I blame it on them and actually have since quit working with them. They did give me the opportunity to learn by failing and I think I am decent at doing weddings now. That said I'd much rather have learned under someone's wing rather than the way I went through it. A big thing now is these wedding companies that contract videographers to shoot their weddings. They claim to have award winning weddings(whatever that means?), yet they don't actually have a specific group of videographers. They contract random people from all over the place so the product they deliver has no consistency. Maybe some of their weddings are shot by an industry professional but others are shot by someone who's doing it for the first time. Their means of vetting who they hire is also a joke.

VIDEO IS EASY that is what they will tell you! Real life facts that I am thinking about a lot the last couple of weeks 1) friend wants to be a youtuber, she wants to learn everything about editing, equipment, lights, sound, and everything in between. Whatever I learned in 20+ experience and a few degrees, she wants in one afternoon. 2) we have a small team, doing internet videos, try to fit 15-20 small ones per day of shooting, the team is a DP with 30+ years of experience at the highest level, me with 20+ years, and our editor 15+ years at the highest level (for our country the highest level, don't get me wrong) and we have a young guy helping building his experience now. At one time, the 25 years old gal doing social media for the client, comes to see. She stayed for an hour, she walked all the time with high heels, played with her phone, and the first thing she said, "I want that to be like this", after half an hour trying to explain her that what she wanted wasn't applicable in this prouction, she left..we lost almost an hour because of her and we missed our brake because we didn't have time for the rest. 3) on another such video, same team, another girl supervising social media for the client, never present on set, send a text "maybe it is better for me to edit the videos, what program do you use so I can watch some tutorials today and do the videos in the weekend?", that was the actual text message... 4) the last, a lot, years, I have met a lot 22-25 year old kids introducing themselves as "DoP" or "director". I have never heard, "I am trying to do camera", or "I would like to be part of a production". 5) In the past, I had a director, that withouht being in the busniness, through social networking, connections, luck, and very low salary has become a director! Knowns nothing about anything, but through youtube videos and director's masterclasses believes he is one of the best in the business! Very proud that became a director without experience and no studies, really having no clue at all. I can't even explain how terrible is to become something you do not deserve, and there is no direction ever, mostly the shooting was happening because of some experienced actors, the DP and me. Crazy stuff..There are others like him coming. 6) wedding video and photography...what a joke..I have met policemen, DJs, wood cutters, military personel, and so many different people, that occasionally, or more professionally are doing weddings. So many of them, are bringing their wives/girlfriends (I have seen that in video mostly), and boyfriends/husbands ( I have seen that in photography mostly) to do second photo camera, or video, or second/third video. So many bad experiences on weddings, I should write a comedy book. 7) we were discussing with an old DoP about instagram recently ( I do not have, I am not familiar at all with it), and he was telling me that 8/10 photos on instagram have a crazy horizon at the back for no particular reason at all..Of course there is a reason, 101 in photography isn't needed anymore. So, video is easy, just press the RED button.

I'm a bit confused about your use of the phrase 'cine'.... The things that separate cine lenses from other lenses are that cine lenses have things like: same weight across whole set (so that you don't need to re-balance rigs when changing lenses) same size front filter size across whole set (so that you don't need to adjust filter setups when changing lenses) aperture / focus gears so these can be connected to a follow-focus same location of manual control rings across whole set (so that you don't need to adjust follow-focus controls when changing lenses) de-clicked apertures parfocal same coatings across whole set (so that shots and flares aren't visually very different when changing lenses) same resolution across whole set (so that shots aren't visually very different when changing lenses) etc Which of these are you interested in? You don't seem to be interested in all of them.

Wedding videographers are not just underpaid for the work they do, but there is less demand for them too! For every wedding with a photographer, only some will have a wedding videographer too. Yet how many weddings with a videographer don't have a photographer? Practically none would ever dream of doing it the other way round!

Yes, video is very hard. The difference between, for instance, wedding video and photography is almost ridicilous. I have seen photographers literally just burst firing away at the wedding cake whilst moving the camera. One of those 30 pics should be alright, not? And if not, you just crop and enhance the 30 MP 14-bit raw image until it looks good, with a bunch of downloaded Lightroom presets. Also, the shooting is done on auto iso, auto focus, auto shutter speed, etc. The difference couldnt be greater. No audio, no capturing complete stories or scenes, no camera movement, no keeping the focus, no 'shit people might move in front of my camera soon', just recompose and burst away. And yet they earn the same or more. And girls drool over them. The last one was a joke. But not really. But then, lets talk about actual film making. I just finished my first feature film script. Jesus christ, i have a lot of respect for writers now. What a task, to do it properly. And it's never finished. There is always room for improvement. Of course I wrote something that needs a big production budget and a lot of visual effects... Impossible to pull of without major funding or a production company. But then, i will probably not be given the chance to direct. Difficult. But working on proper film productions is the only way forward. No more messing around with cheap and soap like short films. Or test video's. Cat video's. Travel video's. They were interesting when i started out, but also because camera's were just getting better and content was interesting just because it was shot with a certain camera. Those days are over. Every modern camera looks good. Its a done deal. Also, there a literally millions and millions of video's online now who do the same thing. Everyone seems to do the same. Billions of GB's of test video's, flowers with shallow dof, their girlfriend in slowmo in the park, their last holiday with a cheese voice over to make it look like there is a narrative, city shots without meaning, etc. I cannot look at it anymore. It's the 'easy' version of film making. You point your expensive big sensor camera at random stuff and expect that people will want to watch your 'film'. There is no story, no narrative. Also not when you add a voice over in post. Or music you ripped from another youtube video. Yes i am very harsh. Also on myself. I want to make real films. I am talented, but i'm not sure i have enough of it. And i will ever make the high end narrative stuff that i appreciate from selective other people. And... If i will ever fully enjoy it. Because film making is indeed hard. Long, exhausting days on the set. The stress. The constant 'will this even work'. But, when you finally do create something which has story, performance and production value and it all comes together and actually does work, it is the most beatiful form of art that exists. When you blow the audience or your clients away, in retrospect it was all worth it. Or was it?

First full frame camera that's Netflix Approved, with 6K and ProRes RAW on deck? Don't hold your breath buddy!

It is, no more banding as it seems, will do a blue sky test tomorrow. Also HDMI monitoring works now with 6K recording. Loving the aspect ratio as well. 😄

Also the image - especially after the update - blows the competition out of the water. Codecs are improved now - so is the color gamut/mapping and (temporal) NR can be turned off now.

that reminds me of talk we had ages ago 😄 back then i was chastised for going for motion blur in Resolve. Filming at a higher shutter also an edge when stabilizing footage... as you skip the motion blur from that... you have to deal with rolling shutter tho. Just apply motion blur after stabilizing

I think it would be usefull to separate the several areas of filmaking and not generalize. I did a few weddings during one summer and I hated it. People are unconfortable around cameras and just want to enjoy the wedding. As for photography, people have an instant gratification and can later post the pictures on social media, so the attittude is different towards photographers. For commercials you have to deal with the client. Most of the times you have to compromise or do what your client wants, even when you know it's shit. There's less chance of creating "your" own commercial, as you're getting paid for a specific purpose. My stuff is low budget, so the hability to do something great is more difficult. What I've gotten from it is that I don't mind to get a little less money for more time. It's less stressfull and more enjoyable. But it's not always possible. For corporate, my experience is that I had less people watching over my shoulder but people rely a lot on interviews. There's a formula that the client wants and that's it. Normal people don't do so well on camera under pressure. So It's always a huge amount of time for people to be able to speak full sentences for the camera. I think I would behave the same way. And then you deal with terrible lighting and ugly ass interiors. I watch this forum for a while now and it's mostly about gear talk. That's great but it's only a small part of the conversation. Some people work on the industry and some don't. There's a lot of cynicism towards the industry and some is valid. My recommendation is for people to lose the gear addiction and think of a theme that they would like to explore. In photography or video. Some ideas don't need a lot of money. Just time and dedication.

Video is much like theater plays; there are a lot of moving parts. Sound, music, costumes, acting, vocals, stage production, lighting...and you have to do it in realtime (in motion)...and you have to meld all of that together. If just one aspect is off, the illusion is over and the audience not only knows it, they feel it too. It’s incredibly difficult. However, the payoff can be incredibly satisfying because you can elicit emotions out of the audience unlike any other medium. I would say literature comes close but even there you have the power of the readers imagination to “fill in the scene” that you never have with cinematography. You have too be a master painter, a conductor, a writer/storyteller and a magician. There is nothing quite like making something and them watching your audience be brought too an emotion. That can be incredibly powerful, healing even, life changing, when done right.

The thing about actually finishing things got a nod and a laugh from me, I can't count how many things I've started and then left in limbo, meaning to come back later but never do. I think I am easily bored. Always looking for next idea. Nucleus nano sounds like a good idea. The S1H is a great cinema camera. It's never going to be a camcorder with AF or an effortless run & gun shot grabber. X-T4 with an 18-135 is better at that. I'd like to settle on one camera too. Would be nice 😂

Another great addition coming from Nigel. This time: affordable vintage glass: Canon FD 50/1.8 and FD 24/2.8 coupled with a Pixco speedbooster.

It would be cool if Panasonic followed BM and ZCam and reduced their pricing.

Yeah the complete lack of 4:4:4 is frustrating. Even if it was just in 1080p. I adore the 4:4:4 from the Ursa.

Probably a distinction between models. Better versions of prores exclusive for higher models.

I can now shoot without having to worry about ghosting, smearing in V-Log. NR has to be set to -1 though. TNR seems to be entirely off though and motion cadence is great now.

After doing some testing, I've recorded some raw rgb video, but have no way of viewing it. Does anyone know what to do with this kind of data? Over on the RPi forum they suggest this software, but it's only for viewing. You can't export, so you can't use the files with any other software, which seems a shame. (It's also €30 for mac. I don't want to pay anything if it doesn't help me actually use the footage) https://www.offminor.de/ If anyone's interested, there's a few samples below. They're shot with my 25mm cctv lens, which on this sensor is very tele. It's the only c-mount lens I have and until finish my project, it's the only lens I can use... It's a soft lens at the best of times so keep that in mind when viewing. FYI: The .rgb file is raw data. I'd love to work out how to view this in a coherent way - or convert it into DNG frames. The .264 files are straight out of the pi before any wrapping. You can only view these in VLC (as far as I know) The .mkv files are unadjusted conversions to h.265 - this is only for viewing the files in an NLE The 4x3 file was a stress test for how large a frame I could make using the basic settings. (1600 x 1200) https://www.dropbox.com/sh/seddezwwymwnh4v/AAAU5es-RCWOXCj1Fpkbz3Dba?dl=0

Some frustrations come when you change your gear constantly and you get mixed results. If you take the time and effort to know your camera, exposure and post workflow, your luts and how much can you change your image after, you might be surprised how good an old camera can be. That's one of the reasons why professionals stick with certain gear. They get to know it and push it as they go on the next job. If you keep changing your gear, you might be surprised when it doesn't get you the results you wanted. You can argue about his films and whatnot but I think this director is a great example for this post:

Those types of videos are fairly easy but even then you may have to deal with audio (maybe) which makes it more involved. It gets worse when you need a multi cam setup and say you are filming an orchestra. Then you need someone directing you through a head set on when to switch to what instrument. Still a lot easier than filmmaking but its way more involved than photography.

Ok nobody guessed and maybe I was being a d*ck by playing a guessing game- so the lens is a Zeiss Distagon ZE 35mm F2.0 ❤️

But but but Video IS easy! So is stills photography. FILM making on the other hand is very difficult. I am not now and never will be a film maker. Every time I tried, my mind would just be blank (permanent writers block??). I am (I think) a reasonable photographer and my videos pretty much consist of bands playing songs live and that is as simple as finding a spot, putting the camera on a tripod with mic facing the band, set camera to suit and hit record and turn off after the song. From time to time a few very short videos experimenting with stuff as well. The new little Sony vlogging RX1## camera would be great for me (not that i will get it) I would not use it for vlogging but to do the same as i do with my A7s for recording songs but in a tiny package that would make it even easier.

I know this is probably not anywhere close to the real quality, but if anyone wants to watch the video on a phone i shared it on instagram. Feel free to have a look or if you want high quality screengrabs tell me or alternatively I can upload it to vimeo.

So my ZF.2 25mm arrived and sadly has a small touch of fungus right on the center of the front element, so that's a bummer. It's going back today. I Should've bought that cinemodded one, it ended up selling for $430, oh well. Next time.

Experimental filmmaker legend Maya Deren had an excellent take on this, in 1959! Her text "Amateur versus Professional" is worth quoting in its entirety: The major obstacle for amateur film-makers is their own sense of inferiority vis-a-vis professional productions. The very classification “amateur” has an apologetic ring. But that very word – from the Latin “amateur” – “lover” means one who does something for the love of the thing rather than for economic reasons or necessity. And this is the meaning from which the amateur film-maker should take his clue. Instead of envying the script and dialogue writers, the trained actors, the elaborate staffs and sets, the enormous production budgets of the professional film, the amateur should make use of the one great advantage which all professionals envy him, namely, freedom – both artistic and physical. Artistic freedom means that the amateur film-maker is never forced to sacrifice visual drama and beauty to a stream of words, words, words, words, to the relentless activity and explanations of a plot, or to the display of a star or a sponsor’s product; nor is the amateur production expected to return profit on a huge investment by holding the attention of a massive and motley audience for 90 minutes.Like the amateur still-photographer, the amateur film-maker can devote himself to capturing the poetry and beauty of places and events and, since he is using a motion picture camera, he can explore the vast world of the beauty of movement. (One of the films winning Honorable Mention in the 1958 Creative Film Awards was ROUND AND SQUARE, a poetic, rhythmic treatment of the dancing lights of cars as they streamed down highways, under bridges, etc.) Instead of trying to invent a plot that moves, use the movement of wind, or water, children, people, elevators, balls, etc. as a poem might celebrate these. And use your freedom to experiment with visual ideas; your mistakes will not get you fired. Physical freedom includes time freedom – a freedom from budget imposed deadlines. But above all, the amateur film-maker, with his small, light-weight equipment, has an inconspicuousness (for candid shooting) and a physical mobility which is well the envy of most professionals, burdened as they are by their many-ton monsters, cables and crews. Don’t forget that no tripod has yet been built which is as miraculously versatile in movement as the complex system of supports, joints, muscles, and nerves which is the human body, which, with a bit of practice, makes possible the enormous variety of camera angles and visual action. You have all this, and a brain too, in one neat, compact, mobile package. Cameras do not make films; film-makers make films. Improve your films not by adding more equipment and personnel but by using what you have to its fullest capacity. The most important part of your equipment is yourself: your mobile body, your imaginative mind, and your freedom to use both. Make sure you do use them. https://hambrecine.com/2013/12/10/amateur-versus-professional/ (also includes a PDF of this text.) - She shot all her films on a 16mm Bolex H16 btw.

See here: https://***URL removed***/reviews/sigma-17-70mm-f2-8-4-os-hsm/2

Please don't say that to the President.

That's totally fair. I have a few of them and they're very solid options for the money. If that's the case, I think you may need to adjust your parameters a bit, true cine lenses are more than 2500 each, let alone for a set. Kye is also right. Are you worried about declicked apertures? Focus gears on the lenses? Uniform front filter size? If Rokinons/Samyangs are too cheap for your blood and would be an embarrassment, definitely don't get them. Take a look at the Zeiss Z series lenses. They were replaced by the Milvus line and as a result are pretty cheap now. I've been building a set of these out and have gone with the ZF.2's for Nikon mount. These are the classic zeiss designs in modern, all metal, super solid format. They have that zeiss look and are very cool. That said, they're not a uniform size, the 50mm 1.4 is small like a Nikon or vintage prime. But you can find them cinemodded by duclos. Now I think it'd be too expensive to send them in to be cinemodded by duclos on your budget, but if you look for them preowned, they've gotten pretty cheap on ebay. You could definitely get a 3-4, possibly 5 lens kit put together for your stated budget. The problem there will be obtaining longer focal lengths, they're all generally still pretty expensive. (135/2, 85/1.4, 100/2 macro)

This video that @heart0less shared in another thread is also interesting as it compares a modern lens + BPM with a vintage FD lens. So just get some vintage lenses and forget your BPM filters! One of the things that people talk a lot about with the Contax Zeiss lenses is the T* coating, saying that the coating is where the lovely look comes from, which is essentially performing the same function, so this isn't a new concept by any means.

Only thing I can think of is a set of Rokinons if you want larger glass.

Honestly I kinda have the opposite feeling these days about video. I started out on tape and doing linear editing with Videonics equipment, then moved to a NLE but still having to transfer footage from tape, to now being able to quickly edit things I've filmed. I remember being 14 years old and carrying around a heavy shoulder mounted camera. Now I have a tiny GH5. I can rig it up, or I can use it stripped down. It's liberating compared to what I started out with. Even the equipment I work with, it's lighter, easier to use, and most importantly, more affordable. My only complaint, when comparing it to photography, is that with photography I feel more in the moment. With video I have to think ahead to editing, what I want out of the finished project, etc. When taking stills I really only need to focus on what is going on right then and there. Sure you'll tweak the photos later, but mostly what you see is what you get. Still video is what fascinates and intrigues me. It's what I got into before doing any photography. I was just a 10 year old kid with a camcorder and a VCR, making his little masterpieces. I've loved it ever since.

I don't see how "experiments and some documentary style vignettes..." are different from what Philip bloom does. He goes to the same old places around him and shoots people and landscapes. Sometimes to test cameras, other times just for fun. I don't want to sound arrogant with this and it might be an unpopular opinion but with street photography, you tend to build a collection so it becomes a body of work. And you can examine it and take different meanings from it. The different people, expressions, the looks, the streets, etc. With video, that's much more difficult. If Philip bloom did a compilation, over the years, of the same places he goes to test cameras so we could see the subtle changes that occur with light, with people, architecture, streets, seasons, etc that would have more weight and meaning for me. His pandemic diaries were great as they were exploring a specific subject and it had a general interest in documenting this strange time. The videos he publishes on social media are great but I wouldnt call it art. Now Ron frickes samsara or Ulrich seidl the basement... It's not a fair comparison but I'm more inclined in calling that art. PS: I want to confess that I have a hard time calling and considering "things" art. But art different for everyone. Sorry for the cliche.

It's not even worth talking about. There is no comparison. It is not even just about time and dedication. It's about luck and talent, social connections, money, backing and reputation. You will never get to there. I will never get to there. We should focus on what's actually feasible. I'm surprised you ask something like that really. The goal is cinematography. What do you think it is? Scoping out who has the nicest hats? If we must dissect the art... The goal is to create emotion for the audience. Emotional shape... beauty, ugliness, all kinds of mood, and to do this by capturing real life. Of course it always helps if the audience has a sensitivity to what they are seeing. Some, erm.. don't. It's also about sound. The combination of music with moving poetry is really spectacularly moving, if done right and creativity. I it has a point to put across, a theme... It is easy to put some orchestral cliche over a sunset shot - but there is far more to cinematography in terms of poetry than that. It is like writing. Anybody can write, we can all use words and form sentences. But what makes the difference between a sentence by a monkey and one by a great storyteller? I am not frustrated, not lost at all. I have all sorts of ideas. There is a bit of writers block... Since I left Berlin, my life has changed. The issue is implementation. I don't have the energy or motivation. I know that whatever I create, it'll probably go on the internet and be tears in the rain. I also don't have here the connections to musicians and actors that I had in the city. So I am probably going to change what I do. And I have too much gear and a blog to run. It takes up all my time. Although the Berlin days are over where I shot a lot of creative work, the goal now is to travel and try to make emotional images, stuff that has meaning. Not easy in today's environment where everything is so gentrified. There's nothing commercial that attracts me. By not taking jobs, you have to do it all yourself, you're not institutionalised. You're on the outside pretty much all the time. Much harder. Experiments and some documentary style vignettes of life in the city are great but I am bored of them and want to move onto something fresh. It might not be video related at all. Anyway that's my existential crisis. How's yours?

I think kinefinity is in a great position. That last model that they announced is a great specced camera. Since the mavo lf has a great image, the edge seems that it will be a great camera. They are the underdog, as zcam and others, so they have to offer more for less. And that's what they did. That camera is in another league right now.

I love photography and do quite a bit of pro photo work, but for me it just doesn't quite scratch the itch like video does; I dread the drudgery of endless hours editing photos. Don't get me wrong, I really enjoy post-processing a few of my favorite pics from a shoot, but then I feel satisfied, and it just feels like a chore to have to get through the rest of them. Video, on the other hand, the post process is so satisfying! Cutting a sequence together, adding the perfect music, finessing the story... I can't get enough of it! Video vs. photo, particularly of the same event, is also an interesting comparison; the moving image just captures the moment so much better. Last month my sister had her first child, and I shot a handful of clips between photos as my parents got to meet their first grandchild, and ended up with enough footage, as it turned out, to cut a little sequence together. The photos are great, they're precious, they'll hang on the wall for years to come, but the video truly captures the moment, the emotions, the environment, in a way the photos never can! That's what keeps me coming back to video; photography, particularly on vacations, will always be a hobby, but with video, it is just so multi-faceted! I enjoy the scripting and pre-production phase, then get tired of it and can't wait to shoot, then after long production days I'm exhausted but very excited to start playing with my images in the edit, and by the time I'm through with that process I'm dying to get away from the screen and get back out shooting again, all the while constantly trying to improve my skills, hone my craft, better my storytelling abilities. I don't think I'll ever get sick of that.

Video is very hard for so many reasons, especially when there’s a load of elements involved. It’s a gruelling and exhausting experience. In all honesty I’ve grown quite tired of the larger setups, sometimes it feels like you’re training to move houses rather than create art. Saying that, it depends on the subject matter. If I’m totally engrossed in the subject, I don’t feel the pain as much. Overall I’ll be focusing on smaller setups with less stress and more control. With gear, I’m looking to completely overhaul my gear and go smaller on everything. I’m going to sell most of what I have and replace them with smaller and lighter versions of stuff I only need. For what it’s worth, it depends what you do. How Christopher Nolan shoots for 16 hours a day for 7 months solid is beyond me. But some people are built and made for that. Then there’s others who just like to get a kick out of filming cats, trees, flowers and buildings in 8K RAW. As long as you’re happy, doesn’t matter. Do what’s right for you.

I know it would work. My question is if the motion tracking uses the extra frames for motion estimation or if they get thrown away before the tracker is applied. The reason I care about this is I recall the demo from Lok where he did star jumps, and at 25p there was a frame where his arm was sloped down, next frame they were about level, next frame was more than 45 degrees up, next one was vertical. In that example, would the motion estimation pick up that his arm is moving very quickly? or would it just think that there are several unrelated objects appearing and disappearing? If it was filmed in 120fps then there would be 5 times as many frames and the fact it's one object that's moving would be obvious to the motion tracking. They all look quite similar to me, but the difference between 24 and 120p isn't that much as both of them appear to have approx a 45-90degree shutter. If you compare the size of the blur with how far the object moves in the next frame then you'll see that the blur isn't that long in any of these modes. I know I'm not that sensitive to SS in general, but my impressions of these kinds of tests are that if you have a bit of blur then it mostly looks fine. It's when you're filming in direct sunlight and the SS is like 1/2000 that the motion effect breaks down and it looks more like a burst of unrelated images, or something moving but somehow moving through a medium that gives it strange sharp textures as it travels. I guess the whole point of this is to do away with NDs, which would mean that shots would range from being indoor and 360 shutter to being in direct sun and being 1/4000.

Video is tuff if you're alone. Sometimes, when you're working with people, you can feel lonelier because of how difficult it can be to explain what you want to others. But if you have a project, a series of photographs, a documentary, a topic you want to approach and you know where you want to go with it, even if you're feeling alone, you know where you need to go in order to achieve it. Sure, mistakes will be made. But if the will is there, you push trough. Most of your understandable preocuppations will be answered when you find a project that drives you. Even if it takes longer than you were expecting. If we're just taking great pictures, without any tought behind it, just for fun, it will be easier to lose motivation. The past 5 years I've been working in commercial video. Small commercials and corporate videos. Low budget stuff. Eventually I lost all motivation for picking up a camera, as I was only doing it for paying the bills. It was no longer fun. I took some time off and started to mix professional work with personal projects. The personal work is what drives me to do video and tell stories. The corporate stuff still sucks the life out of me but as long as can I have a small project here and there, I'm able to continue. That's my recommendation, find a topic or a message that interests you, bothers you, drives you and go for it. PS: And maybe mix photography projects with video projects. Some stories are better for certain mediums.

Agreed. I'm a relative newcomer to video (~3 years) after almost 5 decades of photography and I got into it reluctantly because I like keeping things simple. But as a creative outlet I don't think anything else can match it. I get to conceptualize and tell a story, compose my own music, solve lots (and lots) of problems, and learn new skills like color grading. The technical details and nitpickery can be overwhelming, but it's good to remind myself that I don't shoot videos for cinematographers and colorists. They're not my audience.

Sounds like you should look into Rokinon/Samyang lenses. The Nikon 20mm 2.8 and 85mm f/2 are both fantastic lenses, but are also both small, which you say you don't like. The samyang/rokinon lenses are all faster aperture and bigger in size. They're widely available in a ton of mounts, cover full frame, and are cheap/easily replacable.

I'm still somewhat amazed I could buy a 4k camera for under $300; em10iii refurbished. I guess 4K cheap won't be such a big deal in the near future, but right now it's kinda cool.

It works, just tested 24p timeline, 120fps footage, corrected amount of blur, and it's a beauty

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

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 had 3 and sold one recently for 2k. It's an amazing piece of glass. I got the HCDNA machined to fit the Inflight. The one on the top in picture. Redstan makes a great clamp for it. I shot this with the GH4 a few years back. The Inflight really transforms to the taking lens you use.

Used one for a few months. Overall it's very good for the price and some of the weakness are to be expected at this price point (eg. small sensor, bad low ISO and weak DR). PRO: Very small and portable Excellent gimbal stabilization 4k60 100mbps bitrate in 4K60 (h.264) Screen on the handle (but very small, just use for framing) Good battery life (about 1h30), can be recharged with USB-C Price Nice tap to focus feature, relatively responsive even though it's hard to see on the tiny screen CON Poor dynamic range, same tiny sensor as the Mavic Air Noisy footage, especially in the shadows (like the Mavic Air and Mavic 2 zoom) The attachment with smartphone is very bad and unstable, unfortunately some settings can only be changed via the DJI App The smartphone connector is only provided for iphone, needs a micro USB adapter for other phones, which only adds to the instability of the system Manual exposure only available with the phone + App The 28mm focal is a bit narrow to my taste, this is especially noticeable when you start walking (up and down motion). I would have preferred something like 24mm. AF is on the bad side (a later firmware update improved the AF, but I haven't tried it) Poor low ISO performance, normal for this sensor size though

8mm anamorphic run and gun with Baby Hypergonar 1.75x , Bolex 8/19 1.5x , Kowa 8 2x + ProtoDNA