Endfallow Media

It was actually two different sellers, but yes, the ad/image was DS, but received Original Cine. eBay is just plain awful. Sold my first auction last month, and I had to list it THREE different times, due to scammers. Took about a month to resolve, which meant I had thousands of dollars just sitting there, and no access to it. My wife banned me from buying or selling on there any longer. B&H, Adorama, and Amazon Prime are my go-to's anyway. =]

Slight hiccup. Thanks to eBay, freaking scam cesspool that it is, of the three lenses I ordered: 14mm, 35mm, 85mm, the a latter two arrived and turned out to both be original Cine lenses, and not the DS line. Not the biggest deal, but certainly not what I payed for. That said, being I'll only have the 14mm and an old 50mm Nikon D this weekend, I may have to delay the shooting comparison, just until I can get some new lenses in. Slight chance I may just try anyway and see if I can get something. I'll keep you all posted. Mr. Endfallow Media is my fathers name. Just kidding. Joshua works just fine.

From an earlier post: "In reviewing my initial post, particularly the wording of the title, I see how I led some astray. We won't be shooting until this coming weekend (Sat/one week from now), and I will post my thoughts and the examples shortly after. Sorry for the confusion." Again, sorry for the confusion.

I certainly have a lot to learn, particularly in the cinematic realm. My experience has always been in the turn and burn work of small business and short promotional video. However, I'm genuinely interested in the long form, crafted world of cinema, just never really dipped you goes in at that level. I'll be sure and check out CML and perhaps spend some more time considering the nuts and bolts technical side of video. Thx for the advise.

Yikes. I hadn't read about the banding issue. Thanks again for the tips.

I certainly see where you're coming from, and I don't think I disagree, but I'm simply just not of that caliber or mindset. I run a small studio, and outside of client work and the occational passion project, I'd rather just spend my time with my family and friends. I know that's prob lame, but I'm simple that way. Now I've definitely watched my share of technical tests, but I have to admit, I don't get a lot of practical use out of them. I'm not certain what CML is, please excuse my ignorance, but I imagine if they're doing formal tests, are doing many of them, there evironments are very controlled and there methods are very procedural, well tested and exacting. That's sounds like a full time job, and just can't swing it. As for the lenses, agreed. Will be def be using the same lenses on each body. At the moment all but the new 14mm & 35mm are Canon glass, but I'm pretty sure I can wrangle some manual Nikon or vintage glass, as well.

Of course. Excuse me if I misrepresented you. Your test piqued my interest and I've been eager to try it out myself. Most of my clients projects are for web one way or another, so I may be an ideal candidate if the test yields favorable results. In reviewing my initial post, particularly the wording of the title, I see how I led some astray. We won't be shooting until this coming weekend (Sat/one week from now), and I will post my thoughts and the examples shortly after. Sorry for the confusion. Awesome. Thx for the recommendation, Geoff. Is the intention for these settings to provide a file that stands up better to CC/grading, or is it a "better" image out of cam thought. Just curious of how you use it.

I know @Andrew mentioned something about the NX1 having a Dragon like sensor (6.5k) readout, and I'm interested how this will translate in a real world test. Also curious seeing how @Mattias Burling's (I think that is who recomended it) process of up-ressing the NX1's slowmo to 4k will look against the Dragons native high-frame rate 4k and 6K. As a note, I've never shot with the NX1, so if any of you with experience want to recommend any ideal settings and help shorten the learning curve (maybe a different thread?), it'd be appreciated.

Def more along the lines of what I was thinking. The cam and lenses should be in this week, and we'll prob do a quick shoot with the NX1 as a b-cam this weekend. I'll try and get something up shortly after.

Formal tests, charts and the like, are exactly the kind of vids I tend to avoid, as I honestly don't really use them and they take time to shoot & edit that I'd rather put elsewhere. Personally, I'm more the proponent of real world tests, which is which I was offering (Please excuse me for not being more exacting). That said since there is some interest there, I'll certainly talk to my partner and if we're able to accommodate your request for for a formal review, i.e. charts and noise levels, we certainly will.

The title is sounds a little more provocative that it should. What it boils down to is that I decided to pick up an NX1 and couple Rokinon DS lenses, and we're curious how usable the NX1 is as a 4k B cam for the Dragon. Now I'm not one for test videos, never made one and would rather not, but I am willing to post my experiences and a little footage if they community would be interested in the results. I looked around a bit and didn't see anyone else who'd posted the same info, so if you're interested, go ahead and chime in, and I'll be sure and update the thread. If it only ends up only being a person or two interested, I'm happy to keep it off of the forum and just email individual parties. Lemme know.

It's crazy how many clients ask for 4k now, isn't it? That's what got me looking at cams again, as well. Got admit, I love talking shop, but keeping up is exhausting. =]

Thx for the link. Jeez, 7,952 x 5304 stills.... that's just ridiculous. That's why Youtube now supports 8K. Bet this thing'll kick out some amazing timelapses.

Anybody else watch their video in full res? On my 5K, it certainly looks good, but not revolutionary good, if you will. The same issues that plague most current cams with baked codecs seem present here, despite improvements: questionable DR and blown highlights in the first two shots (and a couple others), noticeable moire on the roof of the far left house at :15, and the roof at :18 (and the camera is static!), and though it has the in-cam 5-axis stabilization, some pretty shaky looking shots throughout, including the motion-controlled shots (which should be butter smooth). I don't mention that to as means to downplay the camera, just as an observation. Like everybody else, I think it looks like a cool cam, and would really like to see some more footage, preferably some original files. That said, it has some awesome specs that may make it the new IT cam, for the moment. Perhaps it'll even get some other companies to drop their new tech/prices a little sooner. Please post as you find new info. --- And just to cover my bases, "Yes, I know that a new camera doesn't make me any better of a filmmaker. I just like them, nonetheless." (Since this tired argument ALWAYS seems to come up.) =]

Ah. My bad, I thought the 35mm 2.8 was native, as well. Thx for the recommendations.

I absolutely feel you on this one. I grew up as a fruit-booter, and that is (and has always been) a bastard sport in the US. Still love it though. =]

I enjoyed the review, @Mattias. Gotta say, I'm half a step away from ordering one, and you may be helping close that gap for me. I'm stilling in that weird spot of waiting for a new cam (URSA Mini 4.6), but the NX1 is a now cam, and awfully enticing. I see you used more native glass for this video, I know you've been a fan of some vintage glass, as well. care to share any of those recommendations?

Gotta say, before watching our vids, I was a little hesitant to put any stock in the idea of freestyle scootering. However, after watching, I thought your vids were pretty cool. Your sport is more tech than I first pictured, and you shot, and edited it well. I even liked the pairing of music with the warm look you used. Thanks for sharing, @Bror.

I'm on Adobe CC & C4D.

No offense taken. If your already sold on the LCDVFE, more power to you. I just thought I'd offer some other options I've either used personally, or heard good things about. I'd be interested on your thoughts on the unit when you get it. If it makes any difference to you, the DP4 does have a VF/loupe for use with the panel, same as the LCDVFE. Here's a link: http://store.smallhd.com/new/Accessories-Including-Obsolete/VF4-View-Finder

I'm not sure I can reciprocate this sentiment, but I'm guessing my experience, or perhaps just my perspective, is different. Here in Denver, I pay my PA's $100-300 a day, depending on the shoot. My business is modest, but that's right on spec with most any production in town, and I firmly believe in paying my crew appropriately. I also occasionally act as a PA for friends shoots for the same rate, sometimes for no fee at all. Personally, I know I expect focus and hustle when I'm paying, and exude these same qualities when I'm the low man on the totem pole, but I've never mistreated a PA, and never really been terribly mistreated when I've played that role. It's certainly an unsung position, but I dunno, my friend. I'm actually rather fond of the moments I've had in the past playing the part of a PA, and all that it entails. In a business that is so savagely saturated in over-inflated egos, sometimes our own, it's a very straightforward and humbling role. Pay attention, anticipate, move fast, and be thorough. I dare say it's downright good for you. Heck, I tended bar through film school, and though I made more money, I'd have jumped at the chance for regular PA work. I think it's pretty awesome you had that chance, and looking though your work, I'd say it benefited you greatly. You've some fine work there, my friend. Consequently, if you're ever in a pinch, I'd PA for you in a heartbeat. Sans union and all. =] As for the Fury Road PA's, perhaps I missed it, but I didn't see anything in the article you listed that mentioned the wage of the film's PA's. I did see mention of the wages for the extras (locals), which was $12-59, a day, which looked low, until I looked up some info on Namibia's economy. Namibia's per capita wage is only $8,200 a year, which already sounds low. But then I read on and find out that roughly 90% of it's population live on $2 a day, which is crazy low. Now factor in that these extras are not even wage earning adults, but school-age boys, and I gotta say this kids made some pretty good money (in practical reference) being part of a movie that many would have paid to be part of. Not a bad deal at all.

I've the passive LCDVF (same company), which is ok but nothing to write home about, but haven't seen/heard much about this EVF. In contrast, the SmallHD DP4 is super popular, has the same + additional features, comes from a reputable company, and is half the price. I've rented one a few times and its quite nice. Some other options may be one of Zacuto's offerings (Z-finder or the updated Gratical). Though they aren't EVFs, I'm sure even the new SmallHD 502 or Blackmagic Video Assist will also have VF additions in no time. The BM even doubles as a recorder, which is a nice option.

Very good. I just didn't want to muddy the waters. ​If the topic lends itself to be broadened, I'm a huge proponent of a second body/lenses, if only for backup, but preferably rolling. That said, your original topic of lenses got me thinking more about what it would look like to stream down not only my lenses, but my whole production process, cams and all. Being a person who owns several bodies, and traditionally shoots two cams, what about, "Too many lenses/cams?" Heck, I've a Canon XL1s I'm pretty sure I'll never shoot again. Genuinely have no idea what I still have it. On that same note, I find it interesting that, it seems, most here only shoot single camera productions. (But I think I may wandering again with that last statement.)

*Deleted comment. After re-reading, I realized this last comment was prob a bit too off topic. My bad, @Mercer.

I've been kicking this idea around, as well. I've a pretty healthy set of lenses, but I find myself using only about 3-4 on any given project: 11-16mm, 30mm, 50mm, and maybe an 85mm. Everything else just sits at the studio. I'd be interested to know what lenses/focal lengths others shoot on regularly.