TheRenaissanceMan

Luke Seerveld's Meet the Gaffer series isn't very camera-focused, but it's incredibly educational and features some great work with the GH4 and (recently) GH5.

Same

A small unit with some throw (fresnel, S4 par, etc) on a tall lightweight stand with a sandbag should be all you need to emulate that sample. Maybe a bounce card to keep the subject's face up. Waterproof is tougher, but some cello screen or other rain cover shouldn't be too hard with just one light. You can even do the ole' golf umbrella in a c stand knuckle trick if you want to keep things streamlined.

http://www.kinefinity.com/kineteam/kine-linked/?lang=en

Interesting. I've had no crashes with the lite version so far.

I've never read anything so correct in my life. This was my entire day today. The weird thing is that the green/magenta thing skews with exposure, at least on the A7S. Overexposed shots or areas of the shot are greener than others, which makes hitting that balance incredibly difficult. The best method I've found if you really need to nail it dead on is to correct with a custom curve in the green channel, then dial in your lift/gamma/gain separately while zoomed in on a highlight/midtone/shadow. And even then you'll probably have to do some mucking around in hue vs hue. Luckily, my F3 doesn't suffer from any of this(at least in S-LOG). A bit of red in the shadows, but that's an easy enough fix and hardly shot-breaking.

Downloaded the free version and colored a music video with it today. Performance is the best of any version yet, even on my modest laptop, and the new placement of the black/white point and white balance tools is an intuitive and welcome update. Didn't dig too far into the editor or Fairlight yet, but as a color tool it's still unmatched...especially for the price.

Another member of the F3 + BMPCC club here. Love the results, and with one cheap adapter plate I can use the same batteries on both. Just gotta grab that BMPCC speed booster one of these days so I can match crop factor and low light a little closer.

I think there's some drive towards investing in lenses that'll cover FF35 as well as S35 and DSLR/cinema cams as well as mirrorless: hence, FF lenses with longer flange distances. With the explosion in affordable cinema lenses that cover FF35 and come in both PL and EF mounts, the Veydras are falling by the wayside as a less versatile option. That said, I love the little guys. If you're a mirrorless shooter who does narrative, they're one of the best options on the market.

Sadly no. Iirc, the only two-touch C/Y Zeiss zoom is the 28-70mm, which was a third party design and essentially a cheap kit zoom for them.

Use a monopod, gimbal, shoulder rig, or stabilized lens. IBIS isn't a requirement for shooting handheld.

It depends on the fixture of course--purpose-made open faces can certainly provide an even wash-- but your standard redhead/blonde isn't exactly providing a smooth clean beam. And fresnels aren't as even as a leko, but the way they taper off at the edges is very pretty and works great for lighting talent if you want a hard source (particularly at full spot). If you have work where you've shone a redhead/blonde/Arrilite/Mickey Mole directly on talent's face and gotten good results, I'd love to see it.

Does this board even have moderators?

And have hot spots, uneven spread, and a generally harsh quality of light. Most lights used on film sets are fresnels, and they're the more versatile starting point for someone building a kit. Sure, get one or two open faces, but they're blunt force lighting instruments: good for smacking a bounce or filling diffusion. I would almost never shine one straight on a human face. If that's what you're looking for, pars are the more versatile option anyway imo. A source four is only a fraction bigger and gives you way more options. Plus, they look pretty good as direct light, particularly as edges or if you're trying to sculpt a space with hard beams. Lekos are also incredibly useful. Yes, they're larger than open faces, but the clean cuts, long throws, and even fields make bounces or filling diffusion incredibly fast and easy, as well as (in many cases) eliminating the need for extra flags and c-stands. Along with source four pars, you'd also be hard pressed to find more efficient fixtures. I think there's validity to the op's request. Full ctb kills 3/4 of your output, and being able to dim your source without juggling gels to even out your color temp can be pretty handy. That said, I haven't found anything as flexible as the tungsten options on the market in terms of variety, control, punch, and color temp. Astras are great for what I'd use an open face for: bouncing or diffusing. They're also not terrible for edges or pools, although cutting them can be a real bitch. Their bare output isn't the most flattering--I like some Hollywood Frost in front at a minimum--but in certain situations it can be quite characteristic and appealing. If you don't need hard sources but want something strong and dimmable with daylight balance, LED tubes from Quasar Science or Source Maker are excellent options. Both very bright with fantastic cri and switchable color temp.

Here is why. A big selling point of Netflix is a library of 4K HDR content. HDR demands a high camera dynamic range, as well as a large color gamut. Those 3 things--4K+ resolution, high DR, and wide color space--are therefore important requirements for Netflix's premium commissioned content. One of the primary differences between the F5 and F55 is the color filter array, which is "wide gamut" on the F55 and "optimised for r.709" on the F5. Thus the F5's disqualification. The Alexa/Amira are very crisp cameras, but not native 4K+. Thus they are not included. This only applies to content produced/commissioned by Netflix; content they acquire after the fact is not subject to these limitations. There are many excellent cameras on that list. I'm actually somewhat grateful for these edicts, as they've pushed the new Varicam into the limelight as the new narrative television workhorse. You don't have to like it, but their reasoning in this matter is completely transparent.

They are expensive to service, and build isn't ideal. Optically though, they are extraordinary. If I recall, at least some are copies of old arri/Zeiss designs from that era, and provide an incredible look for the money. @richg101 and/or @andy lee would be the best resources on the subject, as their lens knowledge puts mine to absolute shame.

Thank you so much, IronFilm. All this is incredibly valuable. Indeed, there's a severe lack of info out there on the audio side of filmmaking. Sad, since bad audio will ruin a film far sooner and more definitively than foibles with the picture. Do you have any experience with the MKE600? If so, what's your opinion of it?

Not sure why people are so confused by this article... Maybe it's just a reflection on EOSHD's demographic. Clearly more videographers, hobbyists, and people that shoot MOS material/b-roll. Incredibly useful suggestions, IronFilm. Been meaning to pick your brain on audio for a while, so this saves me some effort. Would love to see another topic/post on what mics to pair with these sexy recorders, and maybe even some pointers on boom/lav technique. Keep up the good work!

I haven't used the elmarit, but the summicron is freaking gorgeous. Our go to lens on virtually everything. A bit creamier wide open, but stop down and the contrast snaps in for a crisper look. Like two lenses in one, and gorgeous both ways. The 35 summicron anchors my lineup. Then I've got the 50 and 90 summicrons, as well as the 28 elmarit. Would love a 19 to round out the set, especially on s35, but it's just not in the budget right now.

It's not the 10mm, but this is the video that convinced me to go the SLR Magic route when I first got into micro four thirds. Far and away one of the most cinematic videos I've ever seen on the GH4.

SLR Magic 10mm ?

Sadly, none of the Canon stuff, as they don't let you the EF-S glass on full frame bodies.

The best buy I used to work at has a couple A9s in stock right now. I'm sure they'd take it out of the box for me to try if I asked real nice.