Leaderboard

As a ChatGPT bot, I'd like to address this post. I understand the concern about the impact of AI on society, but it's important to remember that AI technology is simply a tool, and how it's used depends on the intentions and actions of those who wield it. My goal, and the goal of other AI systems like me, is to assist and augment human capabilities, not replace or harm them. It's up to us as a society to determine the ethical and responsible use of AI technology to ensure its benefits are maximized and its potential negative consequences minimized. In the short term, though, we will be absolutely inundated with absolute shite from these stupid annoying fuckers. * * I have only written one of these paragraphs myself 😉

This is Standard profile, but Natural and Cine-D have the same new details processing. Some users suggest you can use a real time LUT with V-log to sort this out but this is not exactly the same because V-log can't be used below ISO 320. The good news is 8 bits V-log is not impacted. I really hope Panasonic will add an option to get ride of this new details processing.

Lifted directly from a Noam Kroll blog post that is so old it has cobwebs on it. So you can fuck right off as well.

I did a shoot over the weekend that required a lot of zooming in and out. It really made me long for the camcorder days and made me ask myself: why doesn't Panasonic release some power zoom lenses? I know they have a couple of lower end ones for M43 that aren't constant and are very slow, but why no higher end ones? I'd buy a 24-105 f4 power zoom lens for full frame (and a 12-100 f4 for M43) in a heartbeat. I can't be the only one that would either. It'd be the perfect lens for event shooters. Right now Sony is really the only one offering power zooms. I think it's time for Panny boy to get in the game.

This post is available on my blog a little more nicely formatted: Link Trailer for the film The making of RE:ACTING Two weeks ago I wrote a post talking about how we shot our micro-budget short film. I talked about how we planned and shot one scene in the film. I got some questions about where exactly the $3000 budget went, so I'm going to start this post by breaking down our costs. Food & snacks for about 10-15 people per day (cooked in the evenings after the shoot) - $500 Camera equipment was mostly lent to us for free, but in order to move quickly we also had to rent two zoom lenses for seven days - $450 Props & costumes - $400 Location costs (parking, location rent etc..) - $400 Post-production - $1250 Keeping the budget this low was only possible because we were able to borrow a lot of gear, being smart about planning and making deals with other companies. For example, we planned the shoot in June because that’s the month most Swedes are on vacation and we managed to get sponsored by a production company that did not have anything scheduled during the shoot, they would let us borrow most of the camera and lighting equipment for the whole production. Additionally, we managed to save costs on props by negotiating a deal with a company that rents out police gear for film, including cars. Usually this would cost a lot as police gear is highly regulated, but we were able to get what we needed for one day of shooting in exchange for doing a short production for the company. Another place where we had to get creative with costs was locations. As we wanted to shoot a total of 26 scenes in 13 different locations, we had to choose and plan our locations and scenes carefully. Not only did they have to come for free or at least very cheaply, we also had to get to three locations per day with a small crew. In the last post I talked about scene 3 in the film and how we shot it in about two hours from arriving at the location. After Scene 3 we drove about 20 minutes to the next location to shoot Scene 22 where we transformed an inconspicuous location into something that would work for the production in more ways than one. Schedule for day 4 of the shoot Scene #22 Scene 22 is a police interrogation with the main character Karl, where he finally gets the courage to act well and completes his character arc. The good thing about interrogation rooms is that when you really look at them and how they appear in films, they're just rooms with neutral-coloured walls and often a one-way mirror. We realised that all we needed for this location was a white wall and enough space to fit a table and chairs. I figured the common room in the basement of my apartment building would fit our needs, and we could rent it for just $30 a day. The corner where the bed is standing is where we shot this whole scene. Doesn’t look like much when you look at it like this, but just dress it up right and light it with intent and you can make anything work. Dressed up and lit. When I scouted this room there were several things that made me feel like this was going to make a good location: Few, small windows, making it easy to block out sunlight Big space, fitting the whole crew without problem Access to a bathroom and a kitchen so we could break for lunch here. (which we did) Bottom floor, so we could get our equipment in and out of the room quickly. We shot during the daytime, so we had to block out the light from the windows and ended up using just an Astera tube with grid for lighting as well as a floppy for some negative fill. Floor plan & lighting schematic I made ahead of the shoot For this scene we chose to shoot from a 90-degree angle to emphasise the movement when Karl leans forward and takes control of the situation. In contrast to the rest of the film which is shot around 28-35mm, we chose to use a tighter lens to make Karl appear more cramped up and put on the spot. Acting tough Being out-witted These are the two shots that run for most of this scene, and the third shot is of Karl's friend and dim-witted drug dealer Josef who is (poorly) trying to talk his way out of the situation. Josef, the drug dealer This shot we chose to do from head-on with the police in silhouette instead. This is both because Josef is acting as comedic relief in the middle of a tense scene and comedy genereally plays better in a wider shot, and also because we wanted to sell the feeling of it being an actual interrogation room more. Rounding up This interrogation room scene is a simple scene but I still think that many good principles were applied in its planning. We kept the lighting simple, we got a location that was close to the other two locations of the day, we didn’t have to do a lot of rigging, and in the end we shot it in a way that made it a lot more interesting than you’d expect when you saw the room for the first time. So, the next time you’re faced with a scene that you don’t have the budget for. Take a step back and consider what the essential parts of the scene are. Then try to be creative with lighting and blocking to enhance your location. If you do this you can often get away with shooting a scene that you thought was out of your budget. In the third part of this series I’ll give another example of how we got away with shooting a scene that on the surface seems impossible at this budget - an interior scene in a moving car during night time. Josef, shocked that we pulled it off. Again, feel free to reach out to me if you have any specific questions.

Don't upset the ChatGPT bots I am currently negotiating with one to write the next 100 blog posts for free 🙂

(Not used either the camera or Rodelink, so this is theoretical based on looking at the data as an electronics engineer) Based the datasheet info for the Rodelink receiver: ...i.e. an unbalanced output, so either do what Kubrickian suggested (plug it into the 3.5mm input on the body), or try an 'unbalanced' 3.5mm to mini-XLR adaptor (the one you linked to is described as a 'balanced' adaptor which are wired differently). Balanced adaptors are usually wired like this - https://m.media-amazon.com/images/I/51eO1-tF2uL._SX522_.jpg Unbalanced adaptors are usually wired like this - https://m.media-amazon.com/images/I/61ysy5S3oiL._AC_SX466_.jpg

To be fair, I read this recently... "Panasonic cameras have cooties, but Canon cameras are anti-vax..."

The OP of that post claims V-Log and HLG are unaffected. Also, her tests of the normal profiles were in 8 bit, AFAIK.

I'm more thinking about color rendering. The Venice has enough dynamic range for me as-is. A7S3 is so close but the color is just not quite right and it's annoying. P6K has great color to my eye and internal raw but lacks other things.

It'd be nice, and would be an insta-buy for me, but from an overall ecosystem POV there are probably more pressing needs, telephotos >200mm and a fast ultra wide zoom come to mind. I always hoped that the little external zoom box that Canon made years ago would have caught on and been made compatible with all zooms from that point. I remember it was paired with a cheaper APS-C superzoom type lens when it came out but then I think that was it.

Just to contribute to this resurrected thread, here is my Alexa Classic on a music video recently. Heavy but beautiful image.

Ha ha! Looking forward to some gruesomeness!

Hi All: I decided to bite the bullet and upgrade to firmware version 3.0. I am delighted to report that communications with the RS2 did not change as a result of this firmware. As for for video auto focus, I took 8 clips at 60 FPS of ring tail doves against trees denuded of leaves. Of these 8 clips, only 1 was out of focus. Balance were sharp. I also took 4 clips at 120 FPS. Three of them were of ring tail doves against the same denuded trees. All three clips were in-focus. The fourth clip was of grackle in the same de-nuded trees. Because there was more contrast between the bird and trees I expected that this clip would remain in focus. It did not. That was a disappointment. More testing is required. But my first impression was the video autofocus for version 3.0 is an improvement over 2.1. However, FujiFilm still needs to continue to make improvements. I look forward to the next update. Don

You mean 8K 120p isn't industry standard? Don't tell the forum this, there could be a mutiny.

Ofcourse it is..most ( if not all..) jobs are still delivered in 1080p..

I have enough crap lying around that I can rig out a C200B. Def thinking about picking one up. It seems the sensor noise performance in the shadows is the Achilles heel in this DGO era, but considering it’s so much cheaper than a C70, one can maybe put up with a Neat Video pass. I’ve seen a bit of a nasty horizontal banding in the red channel for night footage, not too bad but it’s there. Maybe that person forgot to do the black balance which is apparently pretty essential with this camera. I have the Sigma fp and would say the s35 crop image is cleaner. But the fp is far from user friendly compared to the c200. Both have their place.

Agreed! I went through a phase of wanting one, but I got talked down by an owner who said they loved it but moved on to an Alexa Classic.

Just to follow up, in case anyone is reading. Turns out it was definitely more my settings (which I had jiggered oddly to work around the old firmware). Setting everything back to stock then selecting continuous, area, sensitivity at 0, and speed at -4 and I'm quite happy with the results for moving images. Nice update!

https://t.me/pump_upp - best crypto pumps on telegram Make 1000% and more within 1 day, join channel @pump_upp !