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The camera plate clamp has a bubble leveler and so does the base of the head. So, if you start with both bubbles level (and with the tilt set around the middle of its range), you should be good to go.

@Inquisative posted a link to a video on the Acratech in a past thread. Later in that thread, @johnnymossville mentioned possibly buying the Acratech, and if he did, hopefully he will chime-in with his opinion on the head.

I am not an editor nor a post person, but one thing that I always hear from pro editors is that they never edit with a compressed, capture format. By transcoding all of one's footage to an uncompressed edit-friendly format, computer resources are saved for effects, filters and rendering, etc., instead of continually decompressing a resource-hungry camera format on the timeline.

If you can view the files in Resolve within the OS in question, then it is not the OS. Can you post a link to one of both 1:1 and 3:1 dngs?

It is probably not the fault of your OS nor of your image manipulation programs. Keep in mind that dng footage is essentially a bunch of raw still photo files (one for each frame of footage) consecutively named and located within a directory/folder. So, trying to view the folder might not work in Photoshop. However, you should be able to view an individual dng file as a raw still photo.

Don't over-think this job. You are not shooting "Lawrence Of Arabia." On the other hand there are a few things to consider in regards to how trade shows work and on how to optimize the video coverage for your client. First of all, do not contact to the trade show management directly about anything. As an exhibitor, your client is a paying customer of the expo, and he is the one who should deal directly with the show management on all matters. You are not with the independent "press" -- you are hired by an exhibitor, and he will probably get you an exhibitor's badge. I have been to a few trade shows, and I have never heard of trade show management prohibiting an exhibitor from shooting his/her own booth. So, unless this expo is the "Anti-Paparazzi Con" or the "Paranoid, Secretive Espionage Agencies Con," don't sweat the lack of official permission to shoot. Secondly, your idea of shooting a time lapse of the booth set-up is nice, but keep in mind when choosing your camera position that things move around a lot and unexpectedly appear and disappear during a trade show set-up: fork lifts; man lifts; push carts; carpet (will eventually cover any bare concrete that you see); signs (erected from the floor and hung from the ceiling); and, of course, big, opaque booth walls will appear. You might have to move your camera out of the way at some point. It is probably wise to shoot some live coverage in your client's booth during set-up, but most of that footage will probably be dull, so there likely is no need to spend the entire day shooting set-up. The first day/morning of a trade show is usually the most active and exciting. Your client will probably want some shots of his booth full of attendees. So, be ready to shoot at the start of the first day. Don't get too big with your rigs -- be nimble so you don't miss anything. A camera with a zoom lens and a monopod are probably all that you need, perhaps along with a shotgun mic plugged into your separate recorder (the camera sound will grab anything off-camera). Look for interesting/positive interactions. Be mindful that the last day is usually the slowest (that morning might be good for sit-down interviews) and that, at tear down, most exhibitors want to pack up and go home.

Don't know if the forum has ever discussed this Feelworld viewfinder (US$229) or this Feelworld monitor (US$139). Both of these items are spec'd to handle a 1080P, 60fps/59.94fps signal through HDMI, so they might work with the BMMCC's 60P output.

I think it's more of the look in his eye rather than the color from the C100, but Johnny looks like he could be part of the window display at the funeral home.

Nice look in the video. No discernible hint of English in the skin tones.

I appreciate the gratitude, but thanks/credit for the "hood>filter" stacking order should go to aldolega. Did you try trimming the rubber lens hoods back with scissors (or an Exacto knife)? That's a "French flag." I prefer a cheap matte box to French flags.

What version of VLC?

Sounds like a good plan! (Just don't want get the filters too far out in front of the lens.)

Does that filter have 77mm female threads on the front? If so, here are some options.

I am glad to be helpful. Please note that I have never used the meters that I linked. By the way, when you start using your incident light meter, it is generally best to aim the meter's dome directly at the light source (as opposed to aiming the dome at the camera). This is true both for taking lighting ratios and for getting exposure readings. Use your free hand to block light from other sources (including reflectors) that you do not want to meter. By aiming the meter at the directly at the light source, one avoids blowing out the highlights with that particular source, regardless of whether or not it is positioned to the side of the subject or more frontal to the subject. Aiming the dome at the camera can give a useful additive/average exposure reading in situations in which you have more than one frontal light source with a lot of overlapping coverage on the subject.

Incident light meters are great for learning and for recording lighting ratios. Recording lighting ratios is especially valuable in case you ever have to reshoot a scene or duplicate part of a scene at another location. Spot meters are not very helpful in this regard, as the subject's orientation and/or surface characteristics can dramatically change the reflective exposure reading, even though the incident lighting remains the same. Any digital incident meter with a fineness of 1/10 stop increments is more than enough for any lighting ratio needs. I have about five meters, but the one I use most is the discontinued Minolta Flashmeter IV. Kenko currently makes a knockoff of the Minolta Flashmeter V for US$249, which seems to have decent reviews. The Sekonic L-308S is US$161 on Amazon, and it has 1/10 stop increments. There is a more recent model of this meter -- the Sekonic L-308S-U -- priced at US$199.

That's like calling the Model T a "Frankenstein" car. Because some of us have only seen products created with the more recent advancements in miniaturization and integration, some might sneer at venerable products such as the Graflex large format SLRs as unwieldy, "Frankenstein" rigs. However, that 5x7" SLR was a sleek, modern, integrated, state-of-the-art camera back in the early 20th century. Here are pages from a 1923 Graflex catalog describing some of the special features of their large format SLR line. Actually, it is difficult to imagine how to make a 5x7" SLR much smaller, even with today's manufacturing advancements. Might be able to make it lighter and stronger, but Graflex cameras certainly were solidly built And how cool would it be to attach one of the Large Sense backs to such a large format SLR?!

My only "go to" light kit is for talking head interviews: - 1 Omni light w/doors, and double scrim; - 1 Pro light/ w/doors, snoot; - The largest and/or smallest Rifa (lamped w/tungsten) w/egg crate; - 2 600w squeezers; - 2 25' stingers; - 2 cube-taps and 2 ground-lifters; - 1/2 CTB for all lights; - 1/2 CTO for the Omni and Pro lights; - Various party gel and diff; - Other non-gel expendables -- black wrap, gaff tape, bullets, bailing wire, etc.; - Various portable grip items -- Tota-clamp, Tota-tatch (mini trombone), #1 grip clip w/baby pin, #2 grip clip w/baby pin, fold-able flag/silk w/swivel clamp, french flag, etc,; - spare bulbs.

Actually, there were quite a few different 4x5-inch SLRs, and there were even 5x7-inch SLRs. Here is an early 5"x7" Graflex SLR:

Great find! Holy cow!! Gonzalo Ezcurra's E/Mini Cyclops cameras have a larger "sensor" than these Large Sense cameras, but 50micron-70micron pixels covering large format frames?!!! How did this guy make/find the sensors? The rolling shutter is not bad at all. I am guessing that these backs will cost a little if/when they go into production, but with the right price these things could move. Very exciting!

We had a new, zillion-take take director, so we had the camera on for two to three hours in some scenes, sometimes going through two XTPower batteries in a half day. When the BMPCC got warm, more continuous hot pixels appeared.

I know that the BMPCC is designed to take 12-18v, but it works with lower voltage. Except for the fact that the internal battery doesn't charge with an external power supply, I never had any problems using the 9v setting on the XTPower with the BMPCC. I'd rather use an external voltage regulator than heat up the internal voltage regulator and nearby camera sensor. I shot a feature using two BMPCCs, and, fearful of under-voltage and wanting to keep the internal batteries topped-off, I always used 12v for external power. About 2/3 of the way through the show, I accidentally ran one BMPCC with the 9v setting on an XTPower, and it worked flawlessly with less heat and noise. Wish I had had that accident earlier in the production. Well, it is a good idea to always run a camera at the lowest necessary voltage, for avoiding heat and for other reasons. Coincidentally, I hold an Extra Class ham radio license, and I was a drummer in many bands for longer than I care to admit.

Great video! Very informative, and it is further helpful that you demonstrated that some of the gear is booger-proof! For my personal gear, I tend to go for much cheaper and lighter solutions, such as those shown on the Frugal Filmmaker channel. The XTPower batteries are great. I have 3 of them as well. On the other hand, I sort of wish that I had instead purchased less expensive Sony NPF clone batteries, as they run at most cameras' (including the BMPCC) operating voltage of around 7.2v-7.5v. The 12v setting on the XTPower units is nice if you want to charge the internal battery on the BMPCC while you are shooting, but such higher voltages heat up the camera and sensor more than necessary, and, thus, produce more noise. The 9v setting on the XTPowers reduces the heat/noise, however, here is a video on how to easily use a cheap voltage converter to get 7.4v from 9v-12v batteries.

With the JVC tech (and with Canon sensor cropping), the lens doesn't need to cover the S35 sensor. Furthermore, a lot of pros don't care about using any particular line of line of lenses, they just want versatility -- a shallow lens mount that will allow the mounting of any lens. Really, the concept is super simple. Just give us the shallowest lens mount possible and let us pros worry about "coverage."

Okay. Attached are the five versions of TL that I have for the EOSM. I think that the only difference between them is the "autoexec.bin" file. Enjoy! tragiclantern-v31337.TRAGIC.2014Dec19.EOSM202.zip tragiclantern-v31337.TRAGIC.2014Sep30.EOSM202.zip tragiclantern-v31337.TRAGIC.2014Jul28.EOSM202.zip tl2.3eosm202_2-14-14.zip tl31337eosm6-9-14.zip

Additionally, there was nikonhacker.com, pentax-hack.info, nex-hack .com (Sony cameras), and, evidently there is a GoPro hack from CHDK. By the way, the main Magic Lantern developer (A1ex) was originally a contributor to the CHDK project prior to starting ML. CHDK is still very active, primarily providing extra still photo features to Canon cameras. Of course, there is also the Tragic Lantern fork of ML (which is still used to get All-I frames from the EOSM and the T3i/600D), and the is the existing Samsung NX hack. LOL! Now there's someone who I haven't thought of in several decades. "Cuchi, cuchi!"