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S5 with Voitglander 35mm 1.2 @ 1.2 and DJI Focus https://drive.google.com/file/d/1zfdaF9VfxQ5PPJ0PXOFygTKcnzbUHqjq/view?fbclid=IwAR18VZmAs2U24wxr0-3UnFtwKCxlr0mnmzgp3imrbngTKoN7CcwKqrM97zc

We can thank the Netflix gods for making 2020 the year which every cinema camera (even the entry level ones) got released with timecode functionality! Yup, and I'm a fan of the DR60D! (I momentarily had a DR60Dmk1 before I upgraded to a Sound Devices 552 fairly quickly, and the DR60Dmk2 is even a bit better than the mk1) I think at that price point, the Tascam DR60D is the best there is. (which is another reason why I'm so mad at Tascam for falling behind the times and not releasing anything in recent years!! As they've shown so much potential in the past) Yet even so, it is very hard to recommend strongly the Tascam DR60Dmk2, when for only a little bit more money you can get a Zoom F6/F4/F8 or Sound Devices MixPre3/6 which are going to be so so so so sooooo much better.

It is VERY annoying giving money away when you have the primary function available and one part of the chain is not cooperative. The day has 24 hours, and we all try avoiding wrestling in post. Waveform matching has been good for me but when it lets you down it takes too much time to get a decent result. The mixpre II is unbelievable after owning a tascam 60d ii. The sound is so clean you cannot believe it. In a somewhat controlled environment the 24bit mode is all you need really, Its limiters are analogue as well and they work great. I will test the 32 bit mode during the holidays.For run and gun and small crews that do not necessarily have great sound skills the 32 bit could be useful. I got it a couple of days ago so all my tests have been rudimentary . I believe it is well worth its money although I initially was very mindful of its price . I do not really think an independent film maker needs more and if he does need it, he will have the budget to hire a professional sound engineer anyways.. It is a great bit of kit. Very clean sound . The mke 600 sounds great and it made even the ntg2 sound better than I was used to. Before that, with the Tascam, izotope was my friend..

You're welcome! You can send a mix from the MixPre to one channel on the XT3, and LTC to the other. Or potentially send a mix from the Mix Pre to the XT3 and HDMI TC the other direction. I wouldn't say the wrong way. It's better than nothing, but it is a workaround compared to pro cameras that have proper timecode functionality. I would explore the HDMI side and see if that gets you where you need to be, and otherwise take some time to work out the workflow sending TC via audio. Once you have to down, it's not difficult, but there's so little information about it that it is indeed difficult to figure out how to make it work. Most people seem to be either pros and cameras with proper TC, or don't use it at all.

Even if the MixPre can do this, it's not advisable. The purpose of timecode is tgetting that time stamp into metadata, and LTC on an audio track is just a workaround to do it. The only reason you'd want LTC in an audio track is if you A) can't put it in metadata, like on DSLR's, or B) need stretch and warp the audio to compensate for drift during the takes which I haven't ever personally seen anyone do, though it is technically possible. Wireless LTC is the simplest way in my opinion, but Imake sure you have scratch audio. My last big project with an XT3, I used a 3.5mm splitter, and ran LTC into one audio channel and used a $6 mic for scratch audio in the other. I used wireless lav transmitters to carry LTC from my Zoom F4 to the XT3. I am not sure if they are compatible, but it seems worth a test to me. See the answer below, jamming the timecode via HDMI might be a good combination of cheap/easy if the drift is acceptable for your work. If you are writing LTC into an audio track, then yes, it needs to be constantly connected. If you are jamming the internal clock to an external source, then typically, no, once you disconnect the timecode source then the internal clock takes over from that same place. That means it is subject to drift once they are disconnected, and you would have to be sure that both are in free run. Definitely do some tests with the devices you own to see how much drift you're dealing with, whether the clock stops when the device is turned off, or other model-specific "gotchas." I'm not sure, I use Resolve exclusively. However it is possible to use 3rd party software to update the file's timecode metadata, which is what I do. I don't know of any ready-made solutions as I wrote the one that I use, but it's a simple ffmpeg command batched across all my files. In my opinion this is a better solution than doing it in your NLE, since the metadata will be ready for use in any software.

Hi everyone! I loved this camera so much that I developed a flip screen modification to make this little machine even more powerful. Now you can install this modification yourself. I hope you like it. https://youtu.be/oCaNpCX3c3o

Jokes aside... - 2014 is pretty irrelevant unless in order to check their actual performance; - their business has proven to be effective in a difficult year for every business on earth and in a special way for the camera industry as whole; - let alone the end on an era all camera manufacturers live nowadays (nothing to make me happy with, BTW) ; - their subscrition model clearly shows they have a strategy and the results show them to succeed. Markets speak volumes. I guess we have no need to go on 'how to properly read financial charts' atm... : X I am happy for them, no matter how I love interchangeable and much bigger sensor size cameras. That said, I never bought a single GoPro camera unit so far... ...but the fact they have adopted David Newman as their main technical resource who made History with Slumdog Millionaire, among other milestones, got every piece of respect I may show for their endeavour. I definitely see evolution in each release of them and praise it, hence my hats off to anyone involved, their customers basis included.

I use Proshow Producer to make basic animated slide shows and then insert on the video when needed. (examples at 1'35" & 2'30") Narration voice will help with the story.

I'm not worried. The tools'll always be there. It's simply the beginning of the end of an era. I grew up with camera-bodies-and-lenses...as did those experiencing 150 years of camera technology before me. As that model steps back from the forefront of the market it's just a bit unfortunate as it's something that's not going to be as important as it used to be. I imagine computational photography will exist within 10 years that allow you capture hi-res images from a FF equivalent of 12 to 150 mm FOV, maximum DOF, and then you can literally choose how you want that to look in post. 75mm with a shallow DOF of that emulates f1.2? No problem. Dial it up in your phone, you're good to go. You want anamorphic bokeh? Be sure to tick that box while you're at it. Hell, I wouldn't be surprised if it's a 360 camera and you literally can crop out whatever image you want during the time the camera was capturing. You don't even have to compose framing on location, just have the camera in the space you deem appropriate then make the more nuanced choices later...all on a 1" sensor capturing 384MP per frame, or something crazy like that.

The things we learn in a cameras forum! : D Six years and a half charts are a new must-have... Wait, no, no, the importance of 52-Week High and Low charts five years ago... LOL ; ) https://www.barrons.com/articles/gopro-stock-soars-19-as-new-camera-drives-better-than-expected-profits-51604686232 GoPro shares are flying on Friday after the specialty video-camera company posted third-quarter financial results that were dramatically better than the company had previously projected. For the quarter, GoPro (ticker: GPRO) reported revenue of $281 million, up an impressive 114% from a year ago and up 109% from the previous quarter—and well ahead of the company’s forecast range of $220 million to $250 million. (Nov. 6, 2020)

@mercer Happy holidays too, dear Glenn and everybody! Black magic micro. You are one brave man.:) A perfect setup for this is tricky and pretty expensive. The original Pocket has risen in price again, running around 500USD, the Micro for much more. Would love to see your gem coupled with some of your c-mount lens treasures!

I recently re-watched a great video on the visual style of Alfonso Cuarón and collaborator Emmanuel Lubezki, and in delving into this more deeply, was reminded how the pair imposed their own limitations when shooting Y Tu Mamá También and how limitations can help focus the creative process and also keep costs down and allow amplified creativity. Who else does this in their own work? We likely all have limitations imposed externally, considering we're not world famous with infinite time and money, but even for those who are operating with limitations, how many of you are either consciously shaping your process in order to fit within your limitations, or even imposing more when you don't need to, in order to simplify and increase creativity? I have found that the limitations that Cuarón/Lubezki impose fit well with my own. They shoot only wide angle lenses, exclusively hand-hold the camera, use natural light, and feature the characters relationships to each other and to their wider surroundings. Further, the camera movement is deliberate and has a 'character', they use long takes at the climaxes in order to further the sense of reality of the situations. I shoot my families travel and the occasional event, shooting hand-held with a 35mm prime (and only changing lenses when a specific shot is called for), shoot only in available light, feature the moments of my family and friends interacting with each other and the environment we're in, and because i'm behind the camera and have a relationship with my family my movement and framing will take on that character. It almost seems to me that there will be a range of famous directors, DoPs, cinematographers, and other visual artists that will align well enough with your own style and preferences that we can learn a lot from it. Who else is studying the visual styles and processes of others to learn?

Great topic. I've never really looked into anyone else's workflows, but it's nice to learn what I've read here. I'm currently filming a documentary where I've imposed some minor limitations. The one which is having the most impact is only shooting between 2 and 6pm on the same day every week. This started out as a scheduling limitation, but I've come to really embrace it. I make sure I'm 110% focused for those short hours, and since the whole film is outside, the light and scenery has changed dramatically since I started in August. I won't be able to finish it until the start of next summer, so there's still a lot more change to come. For personal stuff, I can basically echo @kyeExclusively hand held, natural light, a 35mm lens. I love it.

Great topic! For me its an neverending ongoing process. The usage of natural light by lubezki, unnatural light usage by Darius Khondji. Found it also interesting that they filmed "call me by your name" with a single lens, not that the movie looked that spectacular, but it was a great film(due to the performances). Lately I was massively inspired by the visual style of the safdie brothers. The use of long tele lenses for basicly everything. But it isnt really that easy shooting that way where I live where spaces are quite small and tight (and dont have the funds for decent anamorphics, which offc would help)

Q: When will digital catch up to film? A: When you learn to colour grade properly. With a few notable exceptions (you know who you are), the colour grading skill level of the average film-maker talking about this topic online is terrible. Worse still, is that people don't even know enough to know that they don't know how little they actually know. I have been studying colour grading for years at this point, and I will be the first to admit that I know so little about colour grading that I have barely scratched the surface. Here's another question - Do you want your footage to look like a Super-8 home video from the 60s? I suspect not. That's not what people are actually looking for. Most people who want digital to look like film actually don't. Sure, there are a few people on a few projects where they want to shoot digital and have the results look like it was shot on film in order to emulate old footage, but mostly the question is a proxy for wanting nice images. Mostly they want to get results like Hollywood does. Hollywood gets its high production value from spending money on production design. Production design is about location choice, set design, costume / hair / makeup, lighting design, blocking, haze, camera movement, and other things like that. If you point a film camera at a crappy looking scene then you will get a crappy looking scene. There's a reason that student films are mostly so cringe and so cheap-looking. They spent no money on production design because they had no money. Do you think that big budget films would spend so much money if it didn't contribute to the final images? I suggest this: Think about how much money you'd be willing to spend on a camera that created gorgeous images for you, and how much you'd spend on re-buying all your lenses, cages, monitors, and all the kit you would need to buy Think about how much time you would be willing to invest on doing all the research to work out what camera that was, how much time you would spend selling your existing equipment, how much time you would spend working out what to buy for the new setup, how much time you would spend learning how to use it, how much time you would spend learning to process the footage Take that money and spend half of it on training courses and take the other half and put it into shooting some test projects that you can learn from, so you can level-up your abilities Take that time you would have spent and do those courses and film those projects People love camera tests, but it's mostly a waste of time. Stop thinking about camera tests and start thinking about production value tests. Take a room in your house, get one or two actors, hire them if you have to (you have a budget for this remember) and get them to do a simple scene, perhaps only 3-6 lines of dialog per actor. It should be super-short because you're going to dissect it dozens of times, maybe hundreds. Now experiment with lighting design and haze. Play with set design and set dressing. Do blocking and camera movement tests. Do focal length tests (not lens tests). Now do costume design, hair and makeup tests. Take this progression into post and line them up and compare. See which elements of the above added the most production value. But you're not done yet - you've created a great looking scene but it is probably still dull. Now you have to play with the relationship between things like focal length / blocking / camera movement and the dramatic content of the scene. Most people know that we go closer to show important details, and when the drama is highest, but what about in those moments between those peaks? Film the whole scene from every angle, every angle you can even think of, essentially getting 100% coverage. Now your journey into editing begins. Start with continuity editing (if you don't know what that is then start by looking it up). You now have the ability to work with shot selection and you should be using it to emphasise the dramatic content of the scene. Create at least a dozen edits, trying to make each one as different as possible. You can play with shot length, everything from the whole scene as one wide shot to a cut every 1s. You can cut between close-ups for the whole scene, or go between wides and close-ups. Go from wide to mid to close and go straight from wide to close without the mid shots in between. What did you learn about the feel of these choices? What about choosing between the person talking and the person listening? What does an edit look like where you only see the person talking, or just the person looking? Which lines land better when you see the reaction-shot? Play with L and J cuts. Now we play with time. You have every angle, so you can add reverse-angles to extend moments (like reality TV does), you can do L and J cuts and play with cutting to the reaction shot from some other line. What about changing the sequence of the dialogue? Can you tell a different story with your existing footage? How many stories can you tell? Try and make a film with the least dialogue possible - how much of the dialogue can you remove? What about no dialogue at all - can you tell a story with just reaction shots? Can you make a silent film that still tells a story - showing people talking but without being able to hear them? Play with dialogue screens like the old silent films - now you can have the actors "say" whatever you like - what stories can you tell with your footage? Then sound design.... Then coaching of actors.... Now you've learned how to shoot a scene. What about combining two scenes? Think of how many combinations are now available - you can now combine scenes together where there are different locations, actors, times of day, seasons, scenarios, etc. Now three scenes. Now acts and story structure.... Great, now you're a good film-maker. You haven't gotten paid yet, so career development, navigating the industry, business decisions and commercial acumen. Do you know what films are saleable and which aren't? Have you worked out why Michael Bay is successful despite most film-makers being very critical of him and his film-making approach and style? There's a saying about continuity - "people only notice continuity errors if you film is crap". Does it matter? Sure, but it's not the main critical success factor. Camera choice is the same.

Go stand outside a cinema and as the people leave, poll them with the questions: "did you see the rolling shutter?" & "did you find it objectionable / deal breaker?" The answer will be "No" & "No" (or even more likely: "what the hell are you talking about?") Not a single person watching a film in your average cinema theatre gives a damn if the camera used has a global shutter or not. But if you really "must" (perhaps you shoot tonnes of flash photography, or you're the world's biggest fan of whip pans) then buy yourself Sony PMW-F55 and be happy. (they're becoming quite affordable ish now on eBay)

Shooting S16 is a pain in the ass 😅 I am so spoiled I'd rather just use my S1 with the internal stabilization as gimbals and tripods are too tedious to have to carry and I don't want to have to rig anything up besides putting in a battery and SD card LOL That was my conclusion after filming a short on a C300 rigged up. My take away was I think I could have been quicker and actually got a better image off the S1 without any rigging.

Depends in what degree you are talking about of course. Overexposed film and overexposed digital look very different. Overexposed film looks pretty IMHO. Of course with digital as long as you stay within the latitude of the camera you are fine. Ease of use obviously goes to digital but I don’t think that is what we are talking about. I meant film convert relies on you to expose properly for the color transforms to work. Even then it’s not going to account for every lighting situation especially mixed lighting. For a commercial look properly exposed footage will always be best. Over and under exposed film vs digital are two different animals though. Over or under exposed film has a really unique and cool looking aesthetic imo

The 1DC is nice but I wouldn't say its on par with film. The color science is nice but its not mimicking any certain film stock. It also won't respond like film does to under or over exposure. Over exposing the 1DC will result in a digital clippy mess.

Intelligent ways to tonemap highdynamic range.

This was a good question five years ago.

Shot this with the S1 in 1080 25p. Really happy with the visuals.

Worked on a shoot with a Komodo today!