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Hallo dear friends, I wish you all happy holidays! This is a music video from a winter short we did this summer, which I dped with a friend of mine. A charming journey of roughed up singer Stella who is rushing through the city on Christmas eve, with Schmalz and Pathos of German Schlager music. I wish you all a peaceful time. It is family and friends we find most comfort in. But also some campy fun and vintage lenses in these harsh times. Lens used with my S1 is a beautiful and cheap Unitor (Soligor, Hanimex) 35-70 2.5-3.5. C300 performed with conventional Walimex lenses. Love from Germany. Stay save, dear friends! best, Marty

Turns out the Panasonic GH4 wasn't the only 4K camera I purchased this year.... will do another update once the new camera arrives from the USA.

Merry Christmas to you Marty and everyone! 🎄

@PannySVHS Nice work!!! On a personal note, I am glad that seven years of high school German classes finally paid off.

Right tool in right hands Welldone man👍

They really lost a lot of sales there. An F4n would have been a very easy choice. The zoom F6 is a mess ergonomically and at that price point you will buy a mixpre. Just came back after test recording external sounds.. Unbelievable. I recorded birds chirping like they were next to me (with negligible ancillary noise), waves from about 10 meters away and a stream about 5 meters away like I was next to it. Unbelievable clarity in all recordings. I tried to use the 32 bit float function just to have an idea (starting my car with full gain ), but you know what? The 24 bit mode plus analogue limiters is so good that you must be a total dick in getting an unusable recording. Cant say you are wrong there. "Cheap" redefines itself quite a lot as you progress with your film making lol. So how would a tentacle be used with a mixpre and an X-T3 or any other mirrorless for that matter, if I cannot jam them together? The camera cannot be synced to the mixpre (no timecode input), so do you sync the tentacle to the mixpre output timecode and then jack the tentacle into the camera?

Very very nice short man.

I recently received my Mac mini M1 with 16gb. I love it but has its limitations. Sony A7Siii - Everything runs perfect until 120. I get a little lag with some 120 clips. I am running the M1 resolve. Grading is easy. Adding grain or NR does drop frames in 100%. BM - Runs perfect with grades. Less drop frames when adding NR or grain 100%. I am so happy with the purchase. I shoot more photos and the system burns through any file. The system is almost silent which is helpful. Another thing to note is while rendering video I can still use other programs. On my other system I had to wait until the file was completely finished to work on anything else.

Cracking stuff Panny!

And the housing is a cheap plastic that cracks easily and causes horrible misalignments. An optics company.. they're certainly not.

I think the biggest deciding factor will be how much noise the fan makes in those single unit lights. My VL300's put off heat from the head, the control unit, and the power brick....but they are whisper quiet and I am thinking they got it that quiet by giving heat so many places to dissipate which means the fan has less work to do. I will take my current setup any day over one that is only a single power unit but has a noisy fan.

Yup, if you put the mic in the right place (at the right time) and kill any competing noise sources then you're most of the way to great sound! But that's often easier said than done. Is like saying "all you need to do is put the camera in the right place (at the right time) with the correct exposure across the scene and you've got great cinematography!" Aside from Panasonic's S1H and GH5S, there are zero hybrid mirrorless cameras which can accept timecode. The standard workaround hack is to drop the TC signal down from line level to mic level, and to write it to an audio track on the mirrorless camera. Then in post transform that into timecode for the files. Which once you've got this set up and done it before, is an easy workflow. But in your case you might have an even better option: an HDMI cord from your X-T3 to your MixPre3, then (assuming Fujifilm is sending out a record trigger that the MixPre3 can read) your MixPre will automatically start/stop with your X-T3 and already with the same timecode as is in the camera itself. From a recent historical context, the Tentacle Syncs are extremely small and extremely cheap compared to everything else that came before them! They were revolutionary game changers in their niche. And if you ever need your camera and field recorder to be disconnected from each other, then you must must must use a timecode box. Yes, "Update timecode from audio track" is exactly what you should do. Or use the supplied software that came with the Tentacle. (unfortunately Premiere is still stuck in the dark ages, even the dinosaur Avid has this feature)

So, here goes a Musikvideo to our shortfilm we shot this summer, Christmas in summertime:) I was DP with a friend of mine. Additionally I did the lights and my buddy will hopefully exchange the favour in doing a splendid edit. Nothing interesting about lensing in this video, besides one lens I had mentioned before and which Andrew bought afterwards as well. We filmed with C300II and Walimex lenses and my S1 with the beautiful Unitor 35-70 2.5-3.5. Really love this lens only thing to dislike is the vari aperture. Soe even filming in 3.5 it will change on the long end. S1 was running the slim 10bit h265 codec with 420 colour and 75mbit. The lens is a real keeper. Used in FF and APSC crop. It has nice resolution and colour and a soft quality to it, very nice mechanically. It was pretty high regarded back then under the labe of Soligor. You can find them also under the Hanimex and other labels. So here we go and Merry Christmas, dear friends!

I've had projects like this in the past. My favourite ways of doing it - although very time consuming are: 1. Print the photos, place them in a suitable location, similar to the theme and then film that scene, add some camera movement and it can look really nice. Even placing them in a frame and putting them on a wall / windowsill can help give them sentimental value for people who weren't on the trip. 2. Create parallaxes. Cut out the main subject, and separate the photo into a number of layers. Add a camera, put it all in a 3D space and do very small camera moves. From there, you can also add puppet pins and give people very small movements as well - like waving, or something. The main thing is, don't add too much movement, even doing the Ken Burns thing. Subtlety is key with stills.

Short video of test shots with the BMPCC 4K Lens was wide open as it was quite dark in the room. https://youtu.be/WArcKh-lXWY

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)

Evolution and not exactly a revolution each year is where they based their business model and have made them a best seller. They've achieved a loyal clientele basis as never seen before... :- ) In the pandemic year... better to not think too much on the remaining camera market : X

But, it seems HDR isn't finished yet.

Happy Holidays! Since Covid-19 has made shooting possibilities pretty limited, I've decided to shift to micro short films. Here are some test frames using the Canon FD 50mm 1.2 L...

Here's another one:

I think posted about this one back when we were producing it - Homecoming is a 30-minute neo-noir revenge film shot on the OG BMCC with the idea of making it look like a Scandinavian noir film from late 80's and early 90's - a gritty, dark, low key yet saturated looking film. It got some rave reviews from some underground and horror outlets. Now we have released the movie, and it can be seen on Youtube, via the link below. Beware though, the film is extremely violent and not for the faint of heart. Feedback and comments are welcome!

@Attila Bakos Very cool, I was on a 3770k; I switched to Ryzen last year for this very purpose. Now I'd like to swap out to one of the newest Ryzens, but they are sold out everywhere. I'm doing something atm wherein I throw enormous amounts of data in, and the renders can easily go upwards of an hour at 100% cpu. My data files are usually around 1Mb per each; these are going upwards of 50Mb atm @zerocool22 CST is a versatile tool that allows whitepaper transforms between any two spaces. These are the manufacturer specified color spaces. Emotive is a measured conversion between two cameras (or profiles etc), such that it factors in sensor response to a light source and internal camera processing (of WB, profile, etc). Emotive has simulations of sensor LogC solely using Resolve color tools (sans CST) called Matrix. Both the interpolated conversions (with Tetrahedral interpolation enabled) and the Matrix LogC simulations are non-destructive, while Arri's Rec709 (that can be added to Matrix LogC) is partly destructive (of extreme Led gamut). CST can be either destructive or non-destructive, depending on the transform specified and relevant gamut. CST + Arri 709: Emotive Color

Once S1H gains momentum at filmschools, it will produce more and more impressive films. Today a friend of mine entered the realm of Varicam colour science and massive cinema image quality with the S1H. I was close to buy one myself, because I was going to sell my S1 due to the paid VLog update and the 10bit 4K60p of the S5. Tell you what, the VLog 10bit puts the S1 way ahead of a C300II image wise, no contest at all! If S5 will continues to sell well, and if Panasonic keeps their model philosophy in logic and neat order, they will grow and give Sony a good run for the money. My friend owns a GH5 and films with Arri at his school. If the S1H convinces him for his project, he is the usual film school image connoiseur, it will be on a whole lot of film school shoots. Film school in Germany means some free tickets for the large German film festivals as Berlinale and others. The S line I think will rock the scene. I hope I can be part of it.:)

Like Nikon, I don’t think any time soon. Based on nothing but pure speculation/opinion.

I gave it a spin a few weeks ago; sometimes it works decently, and sometimes less so. Here's a comparison of GH5 and Arri, as well as their gradient charts:

...as well day to night on D-Cinelike against Normal (minute 8:15) colour profiles. Still waiting for HDR for next firmware update. Casual mobile photography will never be the same because this is simply the truly mobile device with acceptable low light outcome:

Well here's my first use of the S5. Neutral profile, no tweaks to any in camera settings, SOOC, 4k 50p shot in shutter priority 1/100 with the 20-60mm kit lens. Clips imported into Premiere and only adjustments have been to the speed which is 50% for the visuals. Password = Woodworker