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Don't ask this because you'll be shocked with the real number... LOL Well, we're used to make miracles at times... ; ) Kenjo's next one I've already been literally invited to participate as Executive Producer if not more I guess I will ; ) it will be in a different tone on such darker side (INFINITE BLUE is the working title) as every single piece of him BTW. INFINITE BLUE has been designed as a low-budget, psycho-sexual art-house-horror: A bored housewife discovers a mysterious portal that leads to her joining an underground cult and unlocking her potential. YAMOME (2018) -- The Widow, in English, is something he did from a 30-year old young director and, well, it's simply a way beyond only a middle age man like my age could even imagine to shoot... 'cause it's simply amazing his insight as outcome there in one of the best portraits of a middle age woman I've ever seen on screen... Ozu would be proud! As much as Mizoguchi or Naruse, I am pretty sure. Kenjo knows very well my enthusiasm when I privately told him exactly such words... Kenjo follows their tradition and legacy for his cinema. It's an old award-winning film critic who addresses to you now this line. I am suspicious as his producer but you can mark my words. I am with him since AUTOMATION (2017) and MAKE-BELIEVERS is the result of an intense labour since TRAMSMISSION (2019), also producer there, based on 'The Statement of Randolph Carter' by H.P. Lovecraft to celebrate one century of his work. No film grain simulations were used. Just raw and pure post-production work with many hours (in Philippines) of delicate grading obviously well cared to carefully fit the story and the characters. Inspired both on Kenjo's emotional side and mine with both fathers of us. BTW my own father is Executive Producer for some reason ;- ) Thanks for your kind remarks, - EAG

Also did a test. Here are some observation: 1. It doesn't work with lenses that don't have electronic contact with the camera. Gyro data is there but after applying gyro type of stabilization in Resolve got a black screen. This may be a bug in the beta version but it's unlikely. Seems logical that software needs to know focal length of the lens. 2. Can it replace gimbal while walking ? Short answer - no. OK to stabilize simple panning or static shots. With 60p + slow motion in post it can give almost gimbal like results. Good if you want to have a hand held like shots and feeling without the jitter. Still having a good shooting technique is essential. Unfortunately lens IS can't be used in conjunction with gyro stabilization. It is one or the other. 3. It doesn't compensate for up and down movement or does it in somehow subtle manner. 4. As already said and demonstrated it needs 45 degree shutter angle to work best which is not OK for me. Apart of slow motion and simple rather slow pans and static shots when shooting at 180 degree shutter angle it won't be practical. 5. Easy to apply in Resolve. As fast / slow as other types of stabilization in post. 6. Expect with time and new Resolve versions Blackmagic to give more control options to gyro type of stabilization. Bottom line is: Good to have one more option for BMPCC line of cameras for hand held shooting but it has many limitations and won't replace tools and technique required to stabilize shots. It is not a game changer. This explain why it was not introduced with fanfare but rather quietly between lines by Blackmagic. On a side note : With new firmware BMPCC 4K menus look now nicer. A lot of minor improvement to a 4 years + old camera. Well done Blackmagic ! Blackmagic already carved a solid place in cinema cameras business making RAW video available at a low price point. Camera picture quality is great, build quality not that much, but I guess this is the compromise to make for the low price point. If they come with a more compact and solidly build bodies and put a mirrorless mount in next generation of cameras this will be a step in the right direction even with expected price hike.

I found a pre-ordered R7 that stayed 2 days in the shop and the owner seems reluctant to go get it (maybe he has Fuji glass!)..if that be the case for tomorrow, I may have it at the end of the week.. The adapter is included as a gift from Canon, ordered the 16mm as well and an extra battery.. The lenses are not an issue if someone has EF glass, and we all know what EF glass means for the industry, everyone has some, and I am certain there will be a lot of RF-S releases in the future and additional RF ones.. I will be starting slowly with the system and I will see where it gets me. The thing is, Canon is now relevant, which wasn't 3-4 years ago..well done Canon!

Next purchase to come... Can't wait! :- )

First test under very bright sun, and little promo for an organic farm. Shooting animals that moves very quickly has forced me to make a lot of panning, but it was the first time with the camera to shoot outdoors, so please sorry the sense of seasickness with panning shots. Enjoy! 🙂

fast update 0.2: Today I get to shoot a replica Ferrari 250, and here are some sceen shot with simple color grade shot on PMW-F3 and sigma 35mm f/1.4 lens: and a lovely BTS:

Said this here before but... As someone that's on a film-festival selection committee with a bunch of joe-lunchbox-folks, it becomes very obvious what floats their boat. Horribly or lazily crafted films with a theme they like get the thumbs up while beautiful films with challenging material gets ignored. They can watch stories that look incredibly lame but if they dig the film's message they'll be totally into it and forgive so much. So, so, so much. You all would probably get upset seeing how tolerant they are of bad craft. So as it was, so shall it always be. That's not to say us low-budget video folks shouldn't strive for a higher level of craft, but these minutiae levels of refinement shouldn't necessarily go before the bigger design, y'know? I mean, 3 extra stops of DR is nice, but if you're shooting a shitty script or boring documentary ...what's that DR really doing for ya aside from self-edification (which is okay, btw, if that's all you want).

Yes, Pocket 6K. These vintage manual Nikkor AI lenses: 20mm F2.8 24mm F2 28mm F2.8 35mm F1.4 50mm F1.2 85mm F1.4 135mm F2 In order to match Kenjo's vision for this movie. Soft dreamy look especially for certain scenes. Great director, by the way! He is much above the average to say the least. IMO one of the most promising directors I've worked with and even seen as movie lover today.

Feature films with decent budgets often have the most resources for a colourist compared to other types of productions (eg, reality tv shows, documentaries, other types of tv shows). As I'm sure you're aware, there are aspects of the image that can be adjusted in post and aspects that must be done in-camera. This means that the colour and contrast differences that can be adjusted in post might be left to the colourist, whereas the lenses might be chosen for the characteristics that must be captured in-camera. I'm in a number of social media groups about vintage lenses and these are full of cinematographers building sets and modding / servicing them for cine use (and often for rental) and these guys still care a great deal about matching. It's common for someone building a set to take years and buy several copies of each focal length in the series and then choose the best / sharpest / best matching ones and then sell the rest. It's also worth mentioning that in big budget features the colour will be heavily stylised in post anyway, so matching things becomes a much smaller task in the overall amount of things to be done, whereas if you're keeping a very neutral look and operating on a tight budget then matching would be of much higher importance (or should be!).

My guess is it's a little bit of both. The digital workflow makes it easier to match shots and create the stylized look that they want no matter the lens. I mean, I can set up two cameras in my living room, put two different lenses on them, and as long as I white balance them correctly I can get them pretty close in camera. Often times I don't even need to tweak them in post. Films these days also often have a bunch of different "looks", where back to back scenes could have completely different visuals and colors, so using a lens that gives a warmer look in a scene where you use warm colors probably isn't that big of a deal.

Nice, the 1N sounds like a great camera. Since I already own some EF lenses, I'm looking to pick up a cheap rebel and get some auto features. I must admit that I have a bit of GAS with film cameras lately. I started researching and shooting some film last summer. I started with P&S cameras and rangefinders but the first camera I bought was a brand new Nikon N6006 for $48. I didn't have an AF-D lens for it so it sat away in the closet and I eventually listed it on eBay... it hasn't sold yet. Since then, I started buying and shooting with the typical SLR cameras from the 70s/80s... I'm narrowing down my favorites and will keep a few. I tried to make a rule to only buy an SLR that I had a lens for. Other than the N6006, I've held to that rule. Of course, this rule reminds me that I have too many lenses and I need to thin my herd. And with that, I'm thinking of picking up an AF-D lens for that N6006... haha. It seems like a fine brick of a camera actually. Good news is that I have been looking for an excuse to buy the Nikkor AF-D 35mm f/2 for years... Ugh.

It is for family videos and travel, why on earth get a Canon 5D mk2 / mk3? Doesn't really seem compatible with your purposes. Get a Panasonic G9 (or heck, even a Fujfilm X-T30) and enjoy!

@Kisaha Well done, good luck and post your results!

Ektar is, to my eye, the most 'digital' of all colour neg. Lovely stuff which as above, I habitually overexpose (https://www.vrimage.co.uk/IShootFilm/Ektar-100-June-2018/) - but I prefer Portra.

Wow I always wanted a Contax G1. That was a Very special camera with even more special lenses for it. You can't go wrong with one of those.

I have a big bag of Ektar, Portra, Fujicolor Industrial and Acros that I'm slowly working my way through. It's actually amazing how well film holds up after long storage in less than ideal conditions.

I used to live at McCurtain's villas and there is a well-known McCurtain Street in my home city 🙂 Maith an fear, Kenjo! Submit it to IndieCork @Emanuel a very good festival, with close links to IndieLisboa 🙂

Sounds like you got in at the right time. I do have an XA and don't shoot it quite as much as I should, although I do try as it looks so cute, is very small and results are good if I get the focus right. I had an Olympus RC but it was knackered and I sold it on for parts. Also had a Canon AF35ML and the AF was a crapshoot so that went back into the Bay. I went on a compact film camera binge during lockdown as there was little or no other entertainment. Sold all thatI didn't love before I moved temporarily to New Zealand, which was a mild mistake as I could have made quite a bit more over there, at the ends of the Earth, than I did over here. Here, at the pool in Tuscany there is a Dutch girl taking her first shots with a green sticker Contax G1 that she paid €700 for. I am obsessed with film freshness because I'm profiling various film stocks to make emulation luts (for video) and Lightroom profiles (for photography). I was lucky to be able to buy fresh rolls of everything I'm interested in very shortly before this current shortage / supply chain problem hit. At the same time I have 40 - 50 rolls of various films that have been shipped across the world in the belly of a presumably equator-hugging ship on a five plus month journey at least once and/or zapped by X rays at numerous airports there and back again and I now have absolutely zero qualms about using these rolls for my own personal use now. I don't care how beat up the chemistry is, the value of that at today's prices is insane.

Great to know Emanuel, I hope it will be screened also in Italy. 🙂

Jesus Christ this looks pretty legit. A fucking musical, color me impressed. Are you fluent in Japanese? How long have you been involved in the project? What was the ballpark of the budget? My guess would be 100 million. Yen, that is. Just based on the trailer, I'd have to say I'm not in love with the color grade. But I'm a moody guy. I like my movies to be a little bit on the darker side. Literally darker. Did you experiment with any film grain simulations? On the recent Dune they went so far as to do a 35mm print out from their Alexa source material, which they then rescanned in order to get the slightly softer, grainier look they were after. Again, congratulations on your monumentous achievement of producing a feature length musical in 2022. They are rare birds these days.

Thank you for sharing. What camera and lenses did you use? Just the Pocket 6K?

Assuming there's not too much of a difference between adapted EF and native RF lenses, I'd probably end up using adapted lenses anyway on the R7, so I don't think it's a huge deal that the lens selection is limited right now. I'd maybe even get full frame lenses anyway, mostly primes, in the event I upgraded to a full frame camera in the future. I imagine the Sigma 18-35mm will be a popular lens on the R7, for example.

Trouble is with Fuji glass it only works on a Fuji. It is a tempting system but an expensive experiment no doubt.

I swear by these cards. Sorry to wander off topic again 🤣, but my C70 can shoot up to 4K30FPS Cinema Raw LT which has sustained data rates of 250Mb/s; far above the V30 rating. These cards are in my R5, C70, and the micro versions of it are in my drones and GoPros.....I've never had a single problem with any camera and any of these cards. I think the problem is like @webrunner5 stated.....there are too many situations that a typical shooter will run into where it is not useable. Yes, the YT reviewers of the world focus on these shortcomings and shout it from the mountaintops, but that does not mean it is not a legitimate problem. Those same YouTubbers did the same thing when the R5 and R6 overheating fiasco first came to light; and overheating with the R5/R6 is another legitimate problem. IMO if you are buying a Panasonic camera for important work, you are buying it because of their excellent video features and tools, but with the understanding that you will need to use MF. If Canon had an R7 at the time when I was purchasing the GH5 or S5, I would have never even owned a Panasonic. In 2022 as much as I got used to MF, AF is just too useful and too "freeing" allowing you to focus on so many other things that I would never want to go back to having to MF every shot. Yes some of my problems were my own doing....I didn't trust the L mount "alliance" and stuck with Canon glass, but their native lenses convinced me I was doing the right thing since even with native glass the AF was simply too unreliable. I think in certain situations Panasonic cameras would be perfect.....product shoots, talking heads (as long as you have enough light for a deep enough DOF like in a studio setting), if you have a dedicated focus puller, outdoors static tripod shots, etc.. But the list of situations where it is unusable is much longer than that list; in 2022 with the plethora of offerings from Canon and Sony why get a camera that is so limiting in such a critical area? Even Nikon has a better AF system than Panasonic. Lets not even mention the L mount alliance and how few and expensive their native lenses are. Even Canon's AF is far from perfect especially on the C70. I flip to MF all the time when I feel I can't trust the camera to pick the right subject, mainly because I don't trust the face tracking just yet and right when I start to trust it, it lets me down at a bad time.....but those times I really need AF, like when I'm on a gimbal or the subject is approaching or departing quickly; it works perfectly every time. So back on topic 🙂, Dan Watson is another reviewer who I like to watch, and he happens to have an early hands on review of the R7. Once again, it is surprising how much of a quality hit the R7 takes when switching to pixel binning for 60FPS. I usually don't care about such things and leave them to the pixel peepers, but with the R7 it is very noticeable.

No such thing as a good luck..they just got it..next delivery unknown..this camera will be the hit of the summer!