Jeroen de Cloe

"This is from the new film, and it looks like two hipsters coming out of the Berghain and home for Netflix and chai tea" ? I was looking at that shot from the trailer too and hated it, but didn't exactly know why. You summed it up. And isn't the shot from the original film looking so much better in general? Honestly, I'm not a big fan of the looks of the film myself. It looks beautiful, but it the entire thing feels... forced. It's all so polished. The original film feels so much more... tangible. I don't know what it is, but the images from the new film don't excite me. What I like about the original Blade Runner is not just it's cinematography but also how it has been cut. Just take the opening scene with the Tyrell corporation building, how it cuts between interior and exterior while the camera zooms in on the interrogation room... it's very unconventional but works very well.

I normally enjoy Andrew's articles but this was weird, pointless and not very funny. Reads like it was written while hammered. Anyways....

Please don't stop the blog! You are the anti-snob and we need a healthy balance of the forces. ?

As far as I could understand the H.265 spec, it CAN be intraframe and it is not "long-GOP in nature". HEVC is significantly more efficient compared to H.264 as intra codec.

This could be a solution for mounting ND filters on this lens: http://www.newsshooter.com/2015/12/21/nisi-make-a-filter-solution-for-the-sigma-20mm-f1-4/

Question is...why do you (or we) care? I mean, there's Sony doing great things, there's Blackmagic, Panasonic and probably a bunch of other manufacturers. Why wish for Canon to be fixed? Is there a missed opportunity or a benefit Canon has why there's an interest in them?

Hi! I bought the excellent GH4 guide on eoshd.com and set the C1, C2 and C3 profiles according to the proposed settings in the PDF. However I stumbled upon this article: http://noamkroll.com/the-best-gh4-settings-for-video-why-you-shouldnt-be-tweaking-things-too-much/ Basically he tells not to fool around with color profiles too much, especially color pedestal, and let the GH4 shoot 'as intended'. The settings *somewhat* contradict the philosophy in the eoshd PDF, so I'm wondering what your thoughts are on both approaches?

Global shutter, 4K for $3000. Wow! Canon, what is your answer?

Shame about the lack of a robot arm. Panasonic should have learned by now it's an essential tool to scrape all the RAW meat off the dishes. ---- Does the GH4 breakout box need its own power, or does it get powered by the GH4?

I'm mostly interested in the stories people will tell with the GH4. Can't wait to see the vimeo channel and see how they can use the camera's specs to their benefit.

Cool. And I do agree with your point on having the need to use an external recorder on the GH4 is silly. Also I think Andrew may know some things we don't yet, plus he sometimes writes things based on gut feeling :-) I use different sources for scientific comparisons. I own a BMPCC and if that thing allows me to record ProRes 4:2:2 and even RAW (albeit 1080p), why not the GH4? I would gladly accept the battery drain :-) maybe they have internal design rules they need to follow, something Blackmagic doesn't have to obey? If I would have designed the GH4, this would have been my choice: - Canon C100 like body and ergonomics - ND filters built in - Simplified codecs. Just H264 (standard quality) and ProRes (for high quality) - LOG flat look. Monitor with this look and/or record setting - Photo as secondary mode. If the dial is on movie recording, change the entire design and layout to serve movie recording. Don't try to cram both in a unified interface. - Olympus 5-axis stabilizer. We can all dream ;-)

I'm pretty new here but I think the tone in Tim's mail is.... Unnecessarily harsh. Why "you failed to" etc? It's not that eoshd.com owes this person anything. The tone is a shame because there are some good points in Tim's mail. Anyway I thought the article was a good read.

Great camera for a great price. It's a smart step for panasonic. Yes I secretly hoped for gx7 (or better) like stabilization, and yes built-in ND and 4:2:2 internal recording would help, but naaaah. Who cares looking at those specs. Most of us on this forum only shoot their back yard and kid anyway

how did you stabilize your footage? Looks awesome!

that's a huge jib you got there ;-) What kind of hardware/equipment did you use?

Great video!!! Congrats. A 'subject' like that is always going to be a winner, but even so your framing and editing is really nice. Can you tell more about the lenses you used? How do you expose for a wide dynamic range? E.g keeping skies blue.

Ahaaaah! Thanks a lot! As an example I shot footage in 6500K today which I then had to set to around 4500 after applying a LUT using FilmConvert. This doesn't really make sense if you think too much about it, so I guess it's finding the right value and then apply the same settings to each clip (assuming they are shot in the same conditions). Here's the result. Hope you like it - mostly improvisational stuff: https://www.dropbox.com/s/y9hwavzqvmf8l50/Wandelen%20-%20BMPCC%20-%20HD%201080p.mov Hope you like it. I was struggling with exposure without a histogram, but I found out that with enough light in the scene I rather should keep the highlights and expose for the shadows, unlike at home where I didn't have much light and 'lifting' exposure resulted in too much noise.

Great. Thanks for your advice!

Hi, I'm struggling with film convert. As soon as I import Prores footage into my NLE and start applying a profile, I first select my camera and the way I recorded the footage (BMPCC / film). I shoot flat profile. The next step is to choose the right white balancing. This is where I experience an issue, possibly because I'm missing the point :-) Does Film Convert "know" how I shot the footage, from meta data or something? I guess not? Sometimes I need to change the color temperature to something else then how I set my camera color temperature during recording, forcing me to manually change the slider each captured scene. What is the correct procedure? Thanks!

Thanks! I guess it will bake in white balance and such? Seems a good compromise.

what, wait? Are you banning the author of this website, Andrew Reid? I'm confused :-) Anyway, I don't think its crap o'vision, just an opinion of a person. Clearly it's a different one than yours, but still.... banning someone for it? Seems strange. Thought it was a great thread :-) My $0.02: Camera and equipment are instruments. Using the best instruments possible get more out of your talent. Without talent and vision, all instruments are practically worthless.

did you shoot RAW or Prores?

Hey, I'm really happy with my new Pocket Cinema camera. It's refreshing to see RAW and Prores footage. Hard to go back to my GH2 now, even with the smaller sensor size. Anyway I was wondering to witch codec I should export footage in Resolve, to have FCPX treat my footage as RAW. I prefer to color it inside FCPX and FilmConvert plugin, bypassing Resolve as much as possible (even avoid roundtripping with proxy footage). If I'm correct I should not use a regular code such as ProRes because it 'destroys' the RAW process. Thanks!!! ps: I hope FCPX will support compressed DNGs in the December update.

So, what budget would you need to get going? All I have are a set of 4/3 lensen. To me this seems an costly investment, not that the camera is expensive but to me it seems the camera is 'just' a box, right? Am I correct that the following is needed as a minimum?[list] [*]A good EF lens. Biggest investment (Will the camera read my aperture and such?) [*]SSD drive(s). (Have they become so cheap? 256 gb for $200?) [*]...? [/list] It's unfortunate the camera doesn't allow for 50p or 60p, even if it would have been 720p or 1080p, but then again it's the 1st revision. Also The camera *looks* as if it's not weather proof in anyway. Hopefully it's sturdy enough for regular shoots. That being said...this is a revolutionary camera and I'm glad it's coming from a company like black magic.