Bioskop.Inc

Did they? My stepdad's got one & they are very tasty. Streaming isn't the same as playing a disk, not by a long shot and HD TV broadcasts aren't really HD. As far as 4K Blurays are concerned - some films look great & others meh (these are mostly to do with film transfers). For instance, I much prefer to watch the DVD version of Chungking Express than the BluRay, I've yet to watch it in 4K.

I do know what you mean & Apple are one of the worst about this - the Law needs changing, for sure. Things will slowly change & these big companies won't be able to get away with screwing with their consumers for much longer. Further, you should be able to take it to whoever you like to get something fixed. And those stickers mean shit, but are really there to stop every amateur from opening things up & maybe electrocuting themselves - cause there can be current in some products, even if they're off. But there is also a thing about reasonable use & taking apart a closed system computer & breaking it, is not reasonable use - that computer was meant to be used for editing etc., not taken apart for a YouTube channel. I just found that video to be less than honest (I think we weren't given the whole story), but they did offer to pay themselves & most companies would have done it - they probably would have stated that they'd need to do a full service as well & then charged them an absolute fortune. If they had, I bet they would have made a video stating Apple screwed them out of loads of money, when all they wanted was their screen repaired..... I used to do training courses for managers from the retail sector. It turns out that the Law is mostly on the consumers side. Take, for instance, a washing machine that has a 2yr warranty & it breaks down a few days after the warranty ends (or even 6mths), the company should still repair it & the shop where you bought it should help you do this. There is also the matter of how long an electrical product should last & in most cases the warranty is complete BS - a washing machine should be able to last a lot longer than 2yrs (most do - i've had mine for 10yrs) & so the warranty should be a lot longer. Oh Yeah, that 1yr warranty Apple give their customers is absolute shite & scandalous.....

Unless they were doing their own breakdown, broke it & Apple are intentionally screwing them to stop other people doing the same sort of thing?

If I was being harsh - yet another annoying youtuber click bait rant! Just look at the facts: they bought a brand new iMac Pro, took it apart & broke it - WTF!? Why would someone do this? It's just pure insanity. And then look at it from Apple's point of view - someone took apart a brand new computer & say they only broke the screen, but who knows what else they did whilst doing all of this? It could turn out that the damage is much worse than just a screen & as far as they are concerned, it just isn't worth the risk to even attempt a repair - could be it bursts into flames or explodes or whatever, when they try to test the screen repair. They just don't know & knowing what the Health & Safety laws/procedures are like in the UK, most companies will just say no. There's so much electronic equipment that have tags/stickers etc. that say removing them & opening the equipment will void all warranty (and probably any chance of said company repairing/touching it with a barge pole). If they were so interested in seeing what was inside, then iFixit (or other websites) do exactly this - I bet you they couldn't care less if it gets broke & if it did, they certainly wouldn't ask Apple. As I said winging click bait BS....

@tomsemiterrific BM's colour science is really good, especially on the P1 & I assume that they will have gone the route of their URSA set of cams for the P2. When recording in their Film Mode (or Log if you prefer) you could pretty much do what you wanted, you don't have to be a genius at grading - just add some contrast & saturation, or whatever your taste is. After numerous firmware updates, their Video Mode was really good if you were in a hurry & just wanted their baked in look (you could push it). One thing I will say is that after shooting loads with the P1, I didn't bother filming in RAW beyond a few tests & some tricky lighting setups. This is because the ProRes HQ coming from the P1 was absolutely stunning - if you didn't have enough latitude in ProRes HQ you simply weren't filming properly, as all you had to do was nail the exposure & in post you could push it by 3 stops either way. The other reason for not shooting RAW was that it produced more noise, M&A, took up way too much HD space & grading took longer. I hope that answers your question & you don't need to be a genius at grading, just shoot/capture your subject properly and the rest is child's play.

Think Larry Jordan nails it on the head with this on ProRes: https://larryjordan.com/articles/pick-the-right-version-of-prores/

This is where I started (16D), you could also go for the Elmoscope I, which is very similar - both have lovely blue flares & go well with 4K cameras. Basically, you've got to ask yourself what you think you're going to get from an anamorphic. Personally, I want them for how they render the out of focus areas, take the edge off some of these high res cameras (especially 4K ones) & finally, for the horizontal flares (but i'm over the flares really). Whatever you do, don't get fooled into buying one of those multi-coloured projection lenses - they are a PITA to use & will give you a sterile MC look. Great if you're projecting in a home theatre, but an absolute waste of time if you're shooting - you'd be better off shooting spherical & cropping.

It's cheap for a reason & you'll probably end up using it as a paper weight. If you are interested in something cheapish, then go for a Singer/Sankor 16D or H - the rear elements are big enough to not limit you like their smaller counterparts. They're x2 stretch & will be dual focus, but if you like them, you can always buy one of those single focus diopter things (that'll cost you more than the anamorphic!).

Yep, it's the first lens i bought when i went digital - good all round lens, which is what you'd expect from a modern Zeiss. But as @TwoScoopssaid it doesn't have a manual aperture ring & so you're stuck with using it on a Canon body only! If you're thinking of Zeiss, then you might want to look at the Contax Zeiss lenses - lovely vintage glass, which you won't find in the modern Zeiss versions. But the real proof of the pudding is that i haven't used it in ages - i go for more vintage lenses that have character, as I just hate that modern clinical souless look. If you do like that Zeiss look & are on a budget, then I can highly recommend the Yashica ML prime lenses as they sit just behind the Contax Zeiss lenses: https://cargocollective.com/yashica/About-Yashica-ML-Prime-Lenses

On S35 the 82mm diopter vignettes with 35mm lens, but you're fine from about 40mm upwards (no problems with a 50mm lens). I mostly shoot S16 now, so no problems at all & don't have to worry about vignetting anymore. These adaptors are better with longer focal length lenses anyway, as you'll get the classic skewed edges with a lot of 35mm lenses - so if you need to get close ups, with a longer focal length, you'll have the added advantage of not getting right in the face of any talent. Hope that helps - just remember the big Angenieux diopters (think they're 102mm, but again not sure if they ever made them under +1) & the Voigtlander Focar A&B 95mm (but they're +1 & +2 - the +1 is very useful)

depends on the sensor size really, but i've not really suffered from it using on either S16 or S35. What do you use & I can check about how wide you can go before any vignetting.

Not going to happen, the best you'll find is one with an 82mm thread - the only 95mm or larger diopters will be +1. There might be some 100mm-ish diopters by Angenieux floating about that could be below +1 strength, but i've never come across any. I've happily used an 82mm diopter on my Rama54, with no worries. Check out Redstan's site as he really does have some of the best diopters in the range that you want, but they'll be 82mm - http://www.redstan.com/index.php?route=product/category&path=36

There's no way that it'll be the same size as the original pocket, which will probably mean that they'll stick with the same battery as the Micro because that 4K sensor will need room to breathe - double the width, with a bigger hand grip? If they are to keep the price down, then I suppose they might put in better connectors & the screen won't blow anyone away, but will be useable for a bare bones approach/use. Really don't think the battery will last any longer than the original unless the P4K is a small DSLR size (so pocket in name only), but that 4K sensor will almost certainly need power & cooling. The main thing will be the image that it produces & the rest we'll just have to make do with what they give us, which will probably annoy most people because they will want the earth & BM will just give them a compact camera with a beautiful image.

I thought it was good, but was well aware that Annihilation is Part 1 of a trilogy of books - so I always thought it might stick out like a sore thumb and feel a bit unfinished. It definitely fits into that space of other recent Science Fiction films (Arrival & Blade Runner 2049), which have abandoned the Space Opera blockbuster template for a more classic/traditional Science Fiction narrative. I thought the original Blade Runner was a terrible disgrace of an adaptation (not a bad film, just not the novel by a country mile) & the new BR film to be much more in line with the source material. I did really like the ending, which feels very non-american - no closure or happy ending (thank fuck for that!), just lots more questions. I thought the marketing aspect of only releasing it in N.America & China to be a strange one - if anyone isn't going to get the film, it's the Americans. The China release is more in line with the film, since they have produced some of the truely great Sci-Fi novels of recent times, which are completely out there & quite heavy going. Star Wars it ain't & thank you very much for not treating us like dumb adrenaline junkies. I wonder if he'll get to make/adapt the next 2 books - come on Netflix, finish the story! Or not............

I don't really think "Clean" & "Anamorphic" are really terms that should be uttered in the same breath - unless you've got one of those multi-coloured sterile projection lenses, which you don't have. This is because x2 stretch anamorphics can produce all sorts of strangeness, which is normally down to the focal length of the taking lens - a 35mm can, and normally does, give you a curving effect at the edges (see Blade Runner, it's everywhere), whereas 135mm will not produce this effect (longer focal lengths will give you a better image). Also, the aperture plays a part & I've found the ideal stop is around f4-5.6 - wide open is when you get the really crazy weird shit going down. A good rule of thumb is that anamorphic adapters play better with simple recipe lenses, which is why the Russian lenses go so well with them - Helios 44-2, Jupiter 9 & Tair 11a (58mm, 85mm, 135mm). They are all pre-set apertures (or fluid apertures, not click stops) & are the classic taking lens set for these adapters - cheap as well. The Nikon Ai-S lenses produce a great image, as do the Super Takumars (these are single-coated & better for flares, as opposed to the SMC versions). I've seen some good things done with the older Voitglander lenses (not the new ones) & I can't remember if the Contax Zeiss were a good match with the Kowa B&H (I had a set & sold them, but think that was a money thing). As far as getting the best flares are concerned, the taking lenses to use are those that have a Golden coating. Also, beware if you don't want internal lens flares & especially the white vignetting, then you'll need to use a matte box & even then you might get some strange things going on. Also the light source can change the colour of the flares - under normal conditions the Kowa's flares should be Green & Magenta. There's loads of video tests out there with the Kowa B&H, so go out there & see what you like.

The Elmoscope I will be cheaper than the II & it's always a good idea to start off cheap to see if you like Anamorphics - if you do then you can look for something better.

There are lots of different anamorphic lenses out there & quite a few which don't get much attention. I'm with Rudolf & avoid the coloured Iscos - over priced & really won't give you the look most people are after. As a first stop I'd look into something like a Sankor/Singer 16D or H or an Elmoscope I - they have the x2 stretch, aren't horribly sharp & they will give you those lovely Blue flares that you see from the cinema - they will flare much better than any Iscorama. Yes they are dual focus, but you mentioned getting an adaptor for single focus, so no problem. Have a look around & you can always post examples to get people's feedback....good luck & don't make a impulse purchases - waiting & looking around is the best course of action.

Haven't really engaged in fanbase BS - it's a great NLE for editing & much better/quicker than what I used in the past (AVID etc...). What has become apparent, is that if you're trying to CC any ETTR Log footage then you really have to push things to the max, but the footage holds up & the only niggle is that I'm not that comfortable having to have things at 100%. To be honest, I don't really care about wheels or boards, as it's all the same in the end. I used to use a program with nodes - they are so much easier to use & the viewing aspect of the different effects is much nicer to look at. I am def going to get into Resolve as I've already missed out on a few jobs where Resolve was a must, which is a nice change as it used to be AE & PP.

So you need to use the Colour Board for Rec709 & the Colour Wheels for Rec2020 - both are affected by whatever Apple have done. But if you read through some of Apple's advice, it does state that if you're using Log clips then you should use the Wide Colour Gamet selection - so does that mean that you CC in Rec2020 & then export in Rec709? I've found the colour board almost useless if you try to bring back Log footage, since you really have to ramp everything up to levels that the old version didn't require you to do. Therefore, it does appear that they've really messed things up & they really need to address this in an update. The other new additions to FCPX are really great & it still is the quickest NLE out there. So DaVinci Resolve here i come.....

I'm using a new iMac & haven't really noticed anything wrong with HS...yet! Finish work for a few weeks tomorrow, so will have a chance to put it through its paces.

The one thing I have found to be not so great is the LUT uploader - not sure if the LUTs i'm using are just crap or whether its FCPX. But the CC tools are great - too much choice now.

It's the room you've recorded it in - the sound is bouncing off the walls etc.. Try turning down the recording levels & get really up close to the mic, like cm away. Also, check if your mic has different settings on it so that you just record through the end of the mic & not out the sides too. If not the blanket trick to deaden the sound will work.

This has been a long time coming, but still going to try DaVinci Resolve as this is becoming more & more of a standard for grading than most people (including myself) realise - I used nodes for another program & really liked how they worked.

FCPX now reads Pocket RAW files, which it didn't before

Just updated & had a play - very nice & the LUT uploader works a treat, as do the curves'n'wheels. DaVinci who?