AaronChicago

So if it's 1K equivalent then you're out?

Is that Aputure softbox going to be released at the same time?

Atomos coiled cables are great: http://www.bhphotovideo.com/bnh/controller/home?O=&sku=1065082&gclid=CP2fqN_ZrswCFQ2QaQodkhUEig&is=REG&ap=y&m=Y&c3api=1876%2C92051677562%2C&Q=&A=details

I use a Tiffen Digital Diffusion FX filter on every 4K shoot that I do. Sometimes Pro Mist if it's on female talent or a beauty(ish) shoot. I've done tests with the filter vs post diffusion and there's definitely a difference. I haven't tried the Tiffen version above though. Maybe it's great.

Any of the cameras that shoot quality ProRes or Raw 1080 can be upscaled to 4K no problem. I've never once had a client ask what camera was used to check and see if it's "real" 4K. For that matter, I've only had one that even requested a 4K finish.

Yeah I believe so. Skintones look better in V Log, and are hard to match perfectly, but everything else should be pretty easy to match color-wise.

It definitely needs a good source of light. If you're raising the exposure to look brighter than whats actually there it can cause problems. The 4K BMD cameras are the same. FPN can show up if you're boosting the shadows. Alot of us are used to great lowlight cameras (DSLRs, mirrorless) but I feel with V Log and BMD cameras you have to change that mindset and shoot in a more film style approach.

Cant tell if youre kidding or not but i meant the hybrid monopod.

This is probably one of the coolest new things at NAB, and it's from Glidecam.

True.

Yeah go to Home Depot and they sell like 12 ft x 5 ft pieces of white insulation for $15. Not sure what you're budget is for this but you can order 25 foot telescoping poles for around $90. Get 4 of them. Stretch them out to full length on the ground. Tie a long rope between 2. Do the same for the other 2. Somehow secure the foam boards onto the 2 ropes via gaffer tape or bungie cords. Then have 2 people lift up the poles on both sides. The foam should be light enough where it would work. If all of that is just too much trouble then I'd probably just shoot a couple of 1K's through some diffusion from the sides of the camera. Hopefully that'll look flat enough.

Not sure how wide of a shot you'll be getting, but if you could get a giant piece of foam board to hang above and bounce a couple of 1K's off of that for a really flat illumination, then use some 300w or 650w fresnels to shape the actors and create some hard light. That way your dark areas are pitch black.

I see that it won new camera award from news shooter.

I thought so at first. I sent some screen shots to Aputure, as well as some user at BMCuser. They all said it seems to be typical. You can really only see it when you rotate the light.

+1 I love the Lighstorm. Planning on getting the fresnel. The bi-color does exhibit grid pattern if you don't diffuse the light AT ALL. But I always have at least a tiny layer of diffusion over it in and it solves the problem. This looks like the Briese 140, which is the industry standard for beauty lighting on commercials: http://www.brieselichttechnik.de/en/daylight/products-overview/focus/focus-140.html

The FS5 + Odyssey seems like a great combo image-wise but I feel like the Odyssey connected to it makes it really bulky. That was the main reason I switched from the FS700 (even though it's longer and heavier than the FS5). The form factor of the Kinimini seem's perfect. Recording internally with a small body, handle, and screen.

The guy is showing everyone's dream camera at a dream price, but the skeptical looks on both hosts' face is priceless.

The rollercoaster one is trippy too. Makes my stomach feel like I'm on an actual steep decline.

Professional focus pullers would even have trouble at that aperture with moving targets. You did a nice job I'd say.

VR isn't really intended for the narrative film maker. It's more for immersive entertainment, study, showcase, etc. NFL quarterbacks are using it right now to practice reading defenses from a real life perspective. I think you're totally correct though that it won't be the norm for narrative film/TV.

Look's like your original file is 720 × 480 and AVI. Try this: Format: H.264 Preset: Vimeo 1080p EDIT: Yeah what @BrorSvensson said

For the tungsten Arri's I just like use CTB gels when I need daylight so it's not a deal breaker.

Yeah, GH4 + VlogL + 10bit external is great in my opinion. If you're shooting any of the other color profiles it probably doesn't make much sense to go 10 bit.

Cool. I wonder if they'd be able to make a variable color temp version like the Lightstorm.

Whoa. Equivalent to a 1.5k. Impressive.