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It's another tokina. The 35 -105 rmc zoom. No idea if it has any parentage with the tokina 28-70 atx pro or not. It's pretty much mint, the zoom is a touch tight at the close end. Took a couple of photos on sunset. There's a bit of a water theme as it rained today. If I push down on the lever over the L switch the whole fd mounting falls off from the lens

Shadow integrity is phenomenal on the camera. Would make using the (otherwise excellent) previous gen cameras like the C300 mkii, and the C200, a bit of a pain now. Agree about the official Canon LUTs - they are a disaster. Not quite sure how they've allowed that to happen. I actually genuinely believe some of my early concerns, re: highlight rendition, etc. may have been down to how people have been applying the official LUT! 😲 Would recommend trying out CLOG2 over CLOG3, as the latter is really designed to protect shadow in a way that isn't really necessary with DGO.

No 8K...PLEASE!

Here's a deep dive into getting long cable runs with HDMI devices like ATEMs. He does go over to types of ethernet cables and sdi conversion. In addition to getting your cable situation down, you'll want to figure out your networking. It's not a great idea to rely on wireless signal for the switcher, although you can do it if you are connecting the ATEM to a laptop with a USB-C cable. Getting an ethernet connection is key, so you'll need an little ethernet switch so you can plug your laptop and ATEM into the network wherever you'll be livestreaming. I use a little 5-port Netgear switch that was relatively cheap and works great.

Yeah. And since this is a website about film and filmmaking, I’ll point out that this concept of vocabulary and perception is pretty much the entire plot of “Arrival,” fwiw.

I see it come up a lot on rumours sites... Company X has developed 12 completely different products and only one will make it across the line! It is just the rumour mill covering all the bases in case one turns out to be right. Do you think Fuji planners sit down together and go... hmmm... we can't decide whether to go 4K or 8K, so let's pile money into both of them, order two completely different sensors, and then decide afterwards! It just doesn't work like that.

C70 and sigma 18-35 fit to my messenger bag easily.

I shot a short film with a BMMCC and three Kern Switar primes in 2019. This was when the cards needed to record raw were simply not available, so we shot in ProRes. I enjoyed working with the camera and generally like the soft, retro look we were able to achieve. Some shots looked better than others. I ultimately decided to sell it and put the money towards a Red One MX, which I think is much more in line with my personal aesthetic. But I do sometimes miss the small size and softness of the BMMCC. Hoping to get back to short films once the pandemic has eased up a little more. I can't share the whole film yet because it's still in its festival run, but here's a teaser.

Do you know on the XT4 with the latest firmware update, you can choose the threshold of the overheating auto-off protection? It is now possible to record at least 40 minutes ; 4K 60p H265 10bit. Watch this video at 2'50 and 4'01mn

One thing that struck me from the tests was how neutral the over and under exposures are. That's absolutely not the case on most other cameras, and I speak from experience here because I have routinely exposed things poorly in the past and then suffered in post when things didn't behave how I anticipated/hoped they would! Once again, the cameras that most remind me of this trait is the original BMPCC and BMMCC, which use very little highlight rolloff, so the way you use them is to ETTR and pull things down in post, and they look very similar (I did tests), at least when overexposing things anyway, if things are underexposed then the results aren't so good. It might even be that the usability of the DR of the Alexa is more useful than the sheer amount of it.

Simply gorgeous image... and it was shot in Prores 422, not even HQ!

This was filmed on BMMCC with Zeiss Superspeeds (the ones with the rollei aperture, no less!) It's what sold me on the camera years ago:

Me and my friend are planning on shooting something over the summer and I thought this would be a good time to invest in a new lens. Right now I only have two kit lenses that came with the camera. What is a good lens that I can get that will be flexible enough to do most things in filming a short film? I understand that I will not be able to do the whole thing with just one lens. My gear: Nikon D5600, Nikkor 18-55mm and Nikkor 70-300mm https://snaptube.cam/. I am willing to buy a converter so if you have a good Canon or Sony lens please don't hesitate to drop it down there. I am shooting for a lens from $500-$800. Any suggestions would be super helpful!