cantsin

"Flat" is not a real log curve, but just a picture profile within the existing sRGB/Rec709 color space. Since Nikon cameras record, like most DSLRs and mirrorless cameras, only 8bit 4:2:0 video, using any kind of log or flat profile with color correction in post will result in loss of color resolution/a drop of factual color resolution below 8bit. Especially with a Nikon camera, which delivers great color out-of-the-box, the best thing you can do is shoot exactly the color you want to have in your final video and avoid color correction in post. Resort to flat profiles only when you shoot scenes with high contrast (to avoid highlight clipping and/or drowned shadows - but use Nikon's "D-light" feature first, with a normal color profile).

Btw., what people like about Fuji cameras - the color science - has nothing to do with X-Trans (although Fuji's marketing wants you to believe that). The sensors in the cameras are just ordinary Sony sensors with a different filter array than Bayer. This should, in theory, avoid blocky debayering artefacts with a more chaotic/organic pattern when pixel peeping. But it should make zero difference for video where pixels are downsampled anyway. (The fact that Fuji sells a number of cameras without X-Trans, but with ordinary Bayer filter pattern - the entry-level X cameras and the high-end medium format GF cameras, yet with the same colors, proves this point. Nevertheless, X-Trans has become some kind of cargo cult...)

Well, that's a symptom of people trying to generate more ad revenue via YouTube. Sadly, the same kind of zombie content as SEO journalism (see the parallel discussion thread on NoFilmSchool).

If you look for affordable vintage lenses and other second-hand photographic gear, check out Foto Braune, Karl-Marx-Straße 7 near Herrmannplatz; Foto Objektiv, Zossener Str. 37 near Gneisenaustraße; ASA90, Fuldastraße 55 near Rathaus Neukölln, Foto Günther, Karl-Marx-Straße 192 near S Neukölln (all these shops are on the same subway line no. 7) and Foto Schilling, Kantstraße 87 near S Charlottenburg. All these shops are small family/owner-operated local businesses, have highly competent and - in the case of Braune, Günther and ASA90 - super-friendly staff and can certainly need your support in a city where rising rents threaten these unique (and sometimes eccentric one-of-a-kind) places. Foto Braune and ASA90 are the places to go if you're also looking for 8mm film gear. Europe's biggest lab for 8 and 16mm processing, Andec, is just around the corner. If you're looking for new analog photographic gear (films, chemicals etc.), go to Fotoimpex in Mitte, which is the outlet of the Adox film factory (but also sells other manufacturers).

Only one word: No. It can alleviate it, but not take away force on the HDMI port. If you don't believe me, read Blackmagic's forum and BMCuser where it's consensus that one should avoid using the BMPCC HDMI port in the field (and resort to a BM Micro Cinema camera if one needs external monitoring). I wrote in my initial reply that a front-heavy setup won't work with the Zhiyun. This is of course completely correct, since all you suggest is to get rid of the front-heaviness through balancing measures. My god, what a kindergarten here.

My bad, it's indeed 810+170g (made a miscalculation). But still, this is far more than anything shown in the pictures above, and I see no solution of reasonably balancing this on the Zhiyun while still having visual control of the recorded image. (I actually happen to be an owner-operator of the BMPCC, the Pocket Speed Booster, the Sigma 18-35mm - in fact, this is my bread and butter camera/lens setup - and the Zhiyun Crane.)

Well, the OP specifically asked about the Blackmagic Pocket + Speed Booster + Sigma 18-35mm. (a) This is a much more front-heavy setup than anything shown on the pictures above. (The lens and the Speed Booster have a combined weight of more than 1kg, the BMPCC body weighs only 350g.) (b) One should avoid using an external field monitor with the BMPCC because of its weakly constructed HDMI port that not only breaks easily, but also breaks the camera's mainboard when it's broken. So any setup that completely blocks the camera display is not an option. You guys should be a bit more careful with accusations of falsehood.

Your best options will be: Foto Meyer - http://www.fotomeyer.de Leistenschneider - https://www.foto-leistenschneider.de/foto/de/wir/filialen/ Calumet - https://www.calumetphoto.de/store/berlin ...and for pro video equipment, Teltec - https://www.teltec.de Best call them in advance. - The big consumer electronic stores Mediamarkt and Saturn (with branches all over the city) might have knock-off batteries, but maybe not for these two camera models. You can check on their websites: http://www.mediamarkt.de http://www.saturn.de (Saturn and Mediamarkt are the same company, so prices are unlikely to differ.) Postscript: Made a quick check for you - none of the photographic stores have the Panasonic battery on stock. But Teltec has this very good third-party battery (Patona is a very trusted third-party battery brand in Germany): https://www.teltec.de/patona-premium-akku-blf19.html?listtype=search&searchparam=BLF19 And the Saturn branch at Europacenter (near Zoologischer Garten station) has a third-party battery for your X-Pro2 in stock: http://www.saturn.de/de/product/_hähnel-hl-f126-für-fuji-np-w126-1538411.html Calumet Berlin has third-party X-Pro2 batteries on stock as well: https://www.calumetphoto.de/product/GPI-Akku-NP-W126/GPINPW126?tracking=|searchterm:http://www.saturn.de/de/product/_hähnel-hl-f126-für-fuji-np-w126-1538411.html&tracking=|searchterm:http://www.saturn.de/de/product/_hähnel-hl-f126-für-fuji-np-w126-1538411.html The original Fuji battery is available at Foto Meyer: http://www.fotomeyer.de/fujifilm-np-w126s-li-ion-akku-67707.html

These are exactly the pictures/files we've been discussing in this thread before. Just saying.

Clearly, the M31 LUT. It will go down in media history books of the 2010s as a similar abomination of taste as, say, this was the abomination of 1980s video making taste: Oh yeah, to go back to 2010s bad taste, also add - f0.95 Bokeh (where a person's eyes are in focus but the nose is blurred-out); - pointless anamorphic flares; - pointless slider shots; - fake light leak transitions; - people shooting flowers in their backyard in macro shots; - Hans Zimmer symphonic movie scores copied and pasted on the macro shots of the backyard flowers. - 1 minute opening credits for 3 minute YouTube videos that otherwise consists of slider shots of backyard flowers shot with f0.95, anamorphic Bokeh & flares with fake light leak transitions - with everything being graded with the M31 LUT and a lifted Hans Zimmer movie score as the soundtrack.

What I would recommend is to switch, on the long run or short-term, from Resolve's database workflow to a file-based project storage (unless you're working in teams). All you need to do is consecutively open every single project in the Project Manager, save each project as a project file and - when you're done - deinstall ProgreSQL. (The PostgreSQL deinstaller comes with Resolve and will be on your hard drive.) Aside from more robust/transparent project storage, this will also have the benefit of no more login screen when starting Resolve. A small disadvantage is that saving projects takes a bit longer (i.e. a few seconds) with complex projects.

It's fantastic - and pretty much peerless - as a gimbal or drone lens on the Blackmagic Pocket Camera and Blackmagic Micro Cinema camera (where its viewing angle is equivalent to that of a 21mm lens on a full frame camera).

Here's my humble attempt of trying to even undercut the GH1/GH2 challenge - a video I recorded with a battered Sony PD100 3-chip miniDV camcorder I found for $20 on a fleamarket: Turned out that the tape head adjustment was off, which produced audio drop-outs and made the footage only playable on this particular camera. Decided to keep the drop-outs as they were, making no repair (/crossfade) attempts of the audio track. In the age of DSLR/mirrorless/big-sensor cameras, a few things are actually great about this camera : - 3-chip architecture (although the advantages in color fidelity are destroyed by the 4:2:0 DV codec, and there's no digital out to record to an external recorder); - CCD sensor with no rolling shutter; - stabilized, parfocal f1.6 10x zoom lens; - in-camera ND filter; - decent in-camera stereo mic; - smoothly operating autofocus; - DV intraframe codec with comparably low 1:5 compression ratio and no visible artefacts even when pushing the footage; - use of Sony L-type batteries; rear mount allows flexible choice of battery size/capacity. With an NP-F970 battery (clone), the camera runs for hours; - everything in one, small, neat all-in-one package; - automatic tape backups of all your footage. ;-) Full manual controls are available but a bit cumbersome to use. Everything was shot hand-held, with the camera on a chestpod originally designed for the Krasnogorsk-3 16mm camera. Post workflow was as follows: - All editing & grading in Resolve 12.5; fortunately, Resolve still provides a clip attributes panel in which all the specifics and quirks of the DV format can be quickly adjusted (i.e. desqueezing of the 4:3 non-square PAL or NTSC pixel aspect ratio, deinterlacing of the camera's interlaced footage); - Decided to (a) ditch the color and go for b/w, (b) denoise all clips with Neat Video, (c) upscale to 1440x1080 and add artificial film grain to mask both denoising and upscaling and give the video a gritty 16mm documentary look; (d) color grade every single clip in the edit with heavy lift/gamma/gain adjustments and red/yellow/green lens filter simulation via color offset adjustment (and desaturation on the final timeline node).- Unfortunately, as always, the grain structure has been partly destroyed by Vimeo's compression. The trick with such a low-resolution camera of course is to shoot, if possible, only close-ups (mimicking the way Carl Theodor Dreyer shot 'The Passion of Joan of Arc' in 1928) - which I didn't do consequently enough. - Oh yeah, an extra challenge was the fact that the venue was so crammed with people that I couldn't move with the camera at all, but had to film everything from one single standpoint (except for the cutaways/b-roll shot after the concert).

This seems to involve some cross-licensing deal. Maybe the next iPhone will use some piece of RED technology, maybe the RED Hydrogen will run iOS after all, maybe the next Mac Pro will be optionally sold by Apple with built-in Red Rocket cards.

The problem of Nofilmschool seems to be that it's mosty a content recycling site that creates clicks from summarizing third-party blog posts, news items and YouTube videos. It seems to be run by a few people who used to work for MTV and have NFS as their source of income while working as indie filmmakers/writers etc. Shows how precarious the whole media business has become, how everyone's struggling to pay their rent and how little room/money is left for experiments and original content (especially, if you live - like the makers of NFS - in New York).

I've been intrigued by this one as well - seems to be a knockoff of the Edelkrone Pocket Shot: What I'm wondering about though: Whichever way you fold it, it seems to give no more than two points of contact, and essentially only stabilisation on the vertical (not the horizontal) axis. Or am I missing something? Postscript: Edelkrone seems to have discontinued the Pocket Shot, perhaps because reviews haven't been very favorable.

Resolve doesn't swallow all DNG files (even if you use Adobe DNG Converter at lowest compatibility settings). For example, DNGs created from Sony ARWs only work in newer versions of Resolve. The alternative route is to use a raw converter (Lightroom or better even Raw Therapee) to render 16bit TIFFs with as little processing as possible and the most neutral settings available and import these as sequences into Resolve (or Premiere).

A front-heavy setup will never work with the Zhiyun or any other similarly constructed gimbal. There's no way you can balance the long and heavy Sigma zoom on it, except if you buy a larger Gimbal like the Movi. (Sorry to be blunt.)

Does anyone have practical experience with these two mini sliders? (They look solid and are affordable.) Nunber one: https://www.amazon.com/Andoer-Wide-angle-Shooting-Smartphone-Lightweight/dp/B01J2RK3IK Number two looks like a Edelkrone Slider One knockoff: https://www.proaim.com/proaim-wigo-portable-camera-slider.html

They also service cine lenses, as I wrote above.

All this discussion is moot IMHO because no lens from the 1970s and 1980s, not even the best one, will render images like a contemporary Sigma Art or Zeiss with their extremely high resolution (4K optical resolution even on APS-C sensors) and high contrast image rendering. Today's high-end glass and lens coatings contain nano technology that wasn't available back in that time. The optical constructions of a lens like the Sigma Art or Zeiss Otis is significantly more complex than that of DSLR lenses in the past (which is why these newer lenses are bigger and heavier). The fact that you can shoot a Sigma Art/Zeiss with open aperture (at f1.8 or less) without major blur/lens softness was unheard of in that time. In addition, these modern lenses are optimized for electronic sensors whereas 1970s/1980s lens designs were optimized for film.

My experience with making cinemagraphs and animated GIFs is that Twixtor / slow-motion via optical flow algorithms reduces detail resolution too much for high-resolution stills. But 12fps is more than enough for cinemagraphs. Made this "GIF documentary" (from BMPPC raw footage) with much lower frame rates: http://cramer.pleintekst.nl/deplayer-impro-snodge/ (You can also download the above as a single, 90MB HTML file: http://cramer.pleintekst.nl/deplayer-impro-snodge/download.html)

40mm hardly make a difference to the 35mm maximum focal length of the companion Sigma zoom.

Burst shooting mode. (But as said, only do this if your camera has an electronic/silent shutter.)

If you are based in the EU, Will van Manen camera service in the Netherlands: https://www.kamera-service.info Will and his partner Cathy are widely known as world-class repair technicians for analog photography equipment (here in the Netherlands, used cameras sell at a higher price if they come with the tag "serviced by Will van Manen"). Had two Cooke Kinetals serviced by them a few months ago (and a Zeika Nominar 25mm/f0.95 a few years ago), with splendid results.