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W Why thank you. here's the full version. PW: festival

I love and enjoy to get to know about interesting things and to get and share feedback as well. Threads that inspire action to create and to dream and fantasize about it before. I have enjoyed many threads with that quality. They have topics like 8bit Black and White, 2500hour Pmw F3 Hd marvel, EosM hacked digital Super8, Roger Coreman and Jim Wynorski, matching 5d3 raw with Gh5. There are many vintage masterpieces and, thank Gosh, lovely oddities in the Eoshd archive. I would love people to contribute more again in that manner. I will post in the 8bit BW thread again soon. 5rc thread has great info now. Thanks to all of you. But it's starting to get uber bloated. Thanks to lack of own experience and own results with the cam. Let's contribute more to interesting content and honour writing, creating topics for ouselves as an audience and keep up good manners. Here is the video from a classy thread I just mentioned. Matching Gh5 with 5D3 Raw. The powergrade could still be in the original thread. Thread and video created by @hyalinejim Quality writing and work.

I would prefer that. What combination do you suggest?:) We could also do a list of our stuff and people are allowed to express wishes. I would love to see Glenn @mercer with his 5d3 Rawmachine plus his Minolta 35mm 1.8. Then @hyalinejimcould join with his 5d if he still has it. @kye might be generous and give us some tasty Bmmcc goodness. I could join that to finally do some legit footage with it. @BTM_Pix could perform some more of his awesomness and challenge good ole Bmmcc HD with some Sigma FP 12bit Raw HD love. A challenge and a wishlist we could be exited about. I think @webrunner5 still has a 3 CCD Varicam on his mind. Now that would be a treat! Classy classic lushiness!😊

Christ there are only about 10 people on average that even post on here anymore and you want to piss off half of them! Be happy with what little you got!!

4K Internal 8it RAW There is zero movement (aside from camera shake) in those shots so anything motion would be pointless to be honest. I'll do something a bit more suitable with a few of the CZ lenses I've got and put it up in a few weeks.

Great hard work there! Sounds B&W deserves much more talents to only make B&W films today. Good bet!

As for instance, have anyone noticed the work of this old good fellow here other than a few of us? Take a look on such well done BTS and tell me then that's nothing new to see there... ; ) LOL https://www.youtube.com/channel/UCTXrI3UZLw5e8u66Dv_pnoQ Here's another one:

just playing with the machine..very nice, little jewel..need to understand quickly if i can bear that screen 😃 Btw, it is not light, quite heavy. Looks like it need a stick, (may be the sony one?) to carry it, expecially n selfie style

My favorite short film: And a bunch of other favorites: Darkness/Light/Darkness by Jan Svankmajer: https://www.youtube.com/watch?v=1THMc9g5SaU&t=2s Also Antoine and Collette by Francois Truffaut. Not on youtube it seems but I believe is on the Criterion Channel.

From my experience with C200 & R5 CRL the footage is considerably sharper with finer detail. and of course 12-bit color. Should really unlock that DGO sensor and be an IQ game changer. If you've been underwhelmed by C70 up until now, be prepared for a significant IQ upgrade with the firmware update.

Hey, dont try to sneak yourself out of our weightlosing shooting challenge.😀 @webrunner5 After all, more people doing kewl stuff will lead to more people doing kewl stuff. I am happy with what little i got and what i do with it. Will share more soon. cheers, my dear and sincere and humerous:) friend

Emanuel, of course, I know fuzzynormals stuff from Lumix GM1 to Oly Em5. Have been a fan of the approach and results, filming with little for great effect. Also a great fan of the Gx7 colour footprint. I love the posts and wish for more stuff in that spirit. What i get tired about is eternal and mega lengthy back and forth over specs. Even much moreso i get tired of megalomanias of misunderstanding and misinterpreting within uberlong and repetetive posts, bloated glibberish. Fun fact, Mercer posted Fuzzys BW piece in the 8bit BW thread I have mentioned above. Gorgeous footage! Not so fun fact, footage does not get recognition when buried in the sub section. Until some time ago people were exited about vintage lenes. Not so much anymore in our lens thread. I posted there about the Konica 35 to 100mm F2.8, an exiting piece of glass, which i hunted on ebeach three times to get a great sample. So i know and love fuzzy, mercer and all you great artists and enthusiasts and nerds. It just feels like the art of posting needs some redirection, curation, inspiration and better and tighter communication. I am just tired seeing great contributors wasting their talent in bloated debates and become bloated themselves. Also I would love to further develope a structure of the forum to inspire posts from anamorphic, footage and raw section. After all it's a pity that gems from Tito Ferandes, Seb Farges and others are hidden and lost for an audience. Also, giving people feedback, encouraging creation is something we did much better until some time ago. I will post a bit soon. Just like all of us a bit too busy with life to do so. But i am always exited when some gem of writing is contributed. Thanks for all the great contributions over the years.

I've lost 4kg/8.5lbs since Jan 1st. Does that count?

I can definitely do that.

I've not shot the C300 MKII and C70 side by side before. I feel the C70 has more dynamic range. Not so much in the highlights but you can really push the shadows far. I think the ticket is underexposing and boosting in post. Nothing beats ARRI in highlights, the C70 doesn't even come close. However ARRI is pretty noisy underexposed, though the colors hold up nicely even under a few stops. It isn't a cheap camera so I am not in a hurry to buy it. It would also be nice if the 4k 120p mode utilized the DGO capability. ARRI is still the better choice for 120p for me, even though its only HD.

I'd be down. Interchangeable lens cameras only?

Leaning heavily into the "Golden Era" of Hollywood filmmaking with this one. Cool to play around with visual styles from yesteryear. 8-bit 4K from a EM10iii and a GH5, for those that are interested in tech specs.

It's natural, Marty, after all, it's a new Canon camera. As you say, there's no even camera yet, so prevails speculation other than the customary paid reviews : ) Have you already check the camera conspiracies react? : D People can have fun anyway still with hilarious stuff and no need to take it much serious, they're just cameras ;- ) That said... let's pay more attention to the footage subforum other than the main one... everyone here! :- )

Yeah it gets even more confusing in digital cinema as "Super35" isn't even a standard within camera manufacturers. Quick search reveals that: the ARRI Alexa has a sensor that is 4:3, 23.8 x 17.8mm. The Canon C200 uses a 16:9 sensor at 24.6 x 13.8 mm. Panasonic gave the EVA-1 a 4:3 sensor at 24.89 x 18.66 mm. Blackmagic with their 23.1 x 12.99 mm in the BMPCC 6K. All of these are marketed as Super 35, but if you put the same lens on each of these cameras you’ll end up with a slight variation in the image crop. With FF its 36x24mm all across. That's a S16 lens though. I was talking about adapting FF lenses to crop sensors. I wouldn't go that far, both cams are using top-notch ARRI lenses! I think it's a wonderful test, depending on what you're looking for. The second clip with the 35mm vs 70mm shows such a huge difference. It's whole other feel/look. Disregarding FoV/DoF comparisons, the clearest variable is resolution difference (6K vs 3.8K). That kinda flaws the comparison if trying to be objective but it's actually pertinent to the original discussion considering medium format usually has about double megapixel res than FF. and as we were saying one could argue higher resolution enhances the lens rendition. The vignetting on the 65's wide sensor vs the center crop on the mini also shows how you're getting the full characteristics of the lens circle. That alone is huge imo (especially on a $30-40K ARRI prime lens lol). You can fake vignetting/edge blur etc in post but as you said it's going to be approximate.. and fake. The 65's bigger sensor also does much better in lowlight, even though the mini has pleasing filmic noise. Haven't done a deep dive with the footage as you have so I'm sure a bunch of other details/variables are present but resolution/low light aside I may prefer the Alexa on some shots. Guess I'm also conditioned/biased towards the overall look & feel of its IQ.

This is the top I have seen at the moment.. https://youtu.be/uPpYi9ozsJ8

That's a fascinating video, but probably for all the wrong reasons. I spent over a dozen hours when it was released with a range of shots from it, adjusting them in post to be a more equal match. By the time you take the Alexa Mini shots and adjust the vignette, barrel distortion, contrast, colour, diffusion, sharpening, and cropping to make the frames much more comparable, the differences are greatly diminished between the s35 and LF sensors. I HIGHLY HIGHLY HIGHLY recommend that everyone downloads the video, pulls it into Resolve and tries to adjust the images to be more similar. I learned an incredible amount about imaging from this exercise. It really gave me an appreciation for how much better the colour science is on the 65 than the Mini - despite the Mini being spectacular in its own right to begin with. ARRI truly did an incredible job in its development. It's a difficult thing to match them as the vignetting is very non-linear and so all I could do was approximate it. I went the full-way and spent hours adjusting one image while it was on top of the other with a "difference" blending mode so I was only seeing the mathematical difference between the images, trying to line up everything perfectly to minimise the errors. I performed individual colour grades on different parts of the image in this mode, eliminating tints and shifts in the colour science, etc etc. Most of the adjustments were non-linear in this sense. Unfortunately I couldn't get them to match closely enough to "see through" the various optical differences and answer the question if there was a difference between the sensors. It's a great test to demonstrate the difference between the two cameras, but a terrible test to show the effects of only the sensor size. As great as an Alexa Mini is, the 65 is a far superior image, so in a way it's like comparing a GH1 kit-lens combo with a Sony Venice Masterprime combo and saying the difference is due to the sensor sizes.

I don't use Fuji but I've had good luck with two VNDs on my Blackmagic Micro Cinema and original Pocket Cinema cameras: 1. SLR Magic VND (1.3 to 6 stops); it looks like Formatt-Hitech may be offering a rebranded version of this one as well as the one they offer looks nearly identical. The locking mechanism is handy for dialing in a setting and locking it there. 2. B+W XS Pro variable ND (1 to 5 stops). Less bulky than the SLR Magic; this one was recommended to me by a cinematographer in Germany who said it had the least impact on colors of any VND he'd used. I typically use VND with stills-camera lenses with stepped aperture rings as I can get more fine-tuned and smooth control of exposure. I also use them when I need to move fast and/or light. I have plenty of good footage shot with VNDs...would it have been better if I'd used my fixed ND filters? Probably but if having the VND made the difference between getting the shot and missing it I'll accept the compromise.

im looking for the 9mm bodycap lens 😎

Agreed. They nailed it with that camera. The electronic EF mount works really well. I really really wish it did internal ProRes. I wouldn’t have sold mine.

Why am I now having visions of a BMPCC6KPro with a 15mm F8.0 Body Cap Lens 🙂 🙂 The other combination, well, I'll leave some mystery to that one until I do it.

Yeah, I have seen some people looking to integrate them and similar (like the now sadly discontinued Intel Realsense cameras) and they do have Unreal Engine integration. At $499 for the new Zed 2i they work out a fair bit cheaper than a start from scratch Vive system. For now the conservative option is the Vive because so many people use it that its easier to find resources for it so I'll see where I'm at when the time comes as they will likely be easier for me to integrate. The lens control aspect is the target product development project for me to emerge with from doing this journey. Well, the first one anyway. The idea of having the enormous OLED walls is obviously a pipe dream but I guess the peak at this level for me I think would be to use one of the 4K Ultra Short Throw Laser projectors like the LG Cinebeam etc. Sat off the wall at 38cm they'll give a 2.2 metre screen size and go up to just under 4 metres at about 50cm. Price is roughly €2-2.5K for those type of projectors (plus screen) so I'd have to be very keen on this to get one but in an era when no one is batting much of an eyelid at €6K hybrid cameras then its not really that eye watering a sum to invest. Particularly as if it all turns to shit you can always have fantastic movie nights with it in even the smallest of spaces ! Until then, I'll have a mess about with my current little projector to experiment with. At this point, not to mention for many points afterwards, I'm more concerned with the functional aspect rather than any semblance of quality !

For highly detailed & inexpensive virtual sets, check out DAZ 3D. I rendered these with a DAZ model by Jack Tomalin (with two different texture sets), imported to Maxon Cinema 4D. Its a great way to experiment with lighting setups: Stonemason is another great DAZ modeler for virtual interiors/exteriors: https://www.daz3d.com/the-streets-of-venice These models are generally less than $50 and are getting more detailed every year. Lately I’ve been looking at low cost motion capture systems. Anyone tried the Perception Neuron 3 system? - $2,400 https://www.neuronmocap.com/perception-neuron-3-motion-capture-system

Last year my friends and I put together a show which we filmed in virtual reality. We tried to make it as much like actual filmmaking as possible, except we were 1000 miles away. That didn't turn out to be as possible as we'd hoped, due to bugs and limited features. The engine is entirely built from scratch using Unity, so I was doing making patches every 10 minutes just to get it to work. Most of the 3D assets were made for the show, maybe 10% or so were found free on the web. Definitely one of the more difficult aspects was building a pipeline entirely remotely for scripts, storyboards, assets, recordings, and then at the very end the relatively simple task of collaborative remote editing with video and audio files. If you're interested you can watch it here (mature audiences) https://www.youtube.com/playlist?list=PLocS26VJsm_2dYcuwrN36ZgrOVtx49urd I've been toying with the idea of going solo on my own virtual production as well.

I was itching to make another short film about 2 months ago, but I'm not much of a writer. Then I found "Script Revolution". A webiste where you can get free scripts offered by the writers. I'm glad I found this website. I found a great little 3 page script by writer Robert Bruinewoud. As luck would have it, I found out about the Rode Reel contest, "Make a short film 3. minutes or shorter" right after that. Mine ended up being 4 1/2 mins. So I made a cutdown version. I'll be releasing the longer version to film festivals around the world. Shot on the BMPCC 4k using voigtlander primes, Kowa and Moller 16 Amamorphic scopes. Check it out if you want to. Vote if you like it. https://myrodereel.com/watch/12720

Illford D400 with the FilmConvert Plugin. Then a bunch of subtle variable tweaks with Red Giant Universe's MisFire.

If you're interested in all about making the sausage of a small indy film, my wife and I are writing about it here: www.agiftforallagesfilm.com I suspect nothing new for you lot, but I'm throwing it out there for those wanting a peek-a-boo.

Oh yeah. B&W. Also some aesthetic tricks to make it look a bit more analog rather than digital. Wanted to shoot 4:3 too, but the set build was such that an aspect ratio like that wouldn't work. We're blogging about the process as much as possible. Pretty casual stuff posting right now, but it'll get more intense when we do a funding campaign to try and cover the cost of the post-production.

Hi everyone, Besides creating free music for everyone, I love to shoot video footage and have created an area on my website to share it: https://soundimage.org/free-video-footage/ There are also looping shots that might be useful as backgrounds for web pages and for Zoom meetings. I sincerely hope some of my shots are helpful. If anyone has suggestions for shots that they need, feel free to contact me and I'll see what I can do. Enjoy! 🙂