PannySVHS

I own the Canon 28mm f/2 FD. 
If you like the 28mm f/2.8 Canon, go for the f/2.
I think I snagged mine for ~$150 and it's worth every penny.
The Nikon 28/2 is awesome too, but if you like the FD coating already, go for that.



 

Idk, Panny. I like your style but not the argument. With the C200 you are basically getting 3 tiers of camera in one. It's an all arounder. Say you're shooting a low budget wedding or small event... shoot MP4. Say you're shooting some corporate work... shoot xavcs. Say you're shooting a doc, music video, short film, feature film... shoot in Raw. This is a very versatile camera and the specs seemed to be very well though out. 
Holy shit, that's an awesome way to save some dough. I still, probably, won't be buying one, but I would only really need the monitor, so if that could save me a grand... or whatever... then that's cool. 

Cannot argue that:) But maybe I can. 4k Raw is too much data, old c100 codec with 420 8bit is just C100 territory. So best to buy a C100 II and a 5DIII

Original cLog was designed for 8bit color, so it's all good. Honestly I wouldn't even bother with the X-AVCS 4K anyway. You still need the cFast cards, so you may as well shoot Raw. If you need economy shoot MP4 for smaller projects and Raw for serious projects. 

Just been asked to leave John Lewis midway through hacking their LX15.
Was able to handshake it and fake the connection but they pounced as I was about to hit Deploy!
I'd already set the alarm off doing their GX800. Status on that was that it took the Deploy command without error but called up the Standard profile.However, the lighting in their was so poor and I had to be so quick that I wasn't able to do full compares to the real Standard profile to see if it was actually Cinelike D. 
So file that one under potentially possibly maybe until I have another opportunity. 
I'm intrigued by getting it on to their small cameras, particularly the travel zoom ones.

Yes, but if people are stupid enough to donate their money to rich people then that's their problem - they're idiots, but its their money. What also annoys me is when a film crowd sources & instead of saying they'll get a return on their investment, they get offered free tickets to the premiere or a walk on part - that's worse.
However, the real thing that gets my goat is when you hear all these stars saying that there aren't enough female directors. Yes it is true for film & it is a problem, but the solution isn't to give money to movie stars who haven't spent years learning their craft (no, acting in a film is not the same thing) & the end result is an average film - just compare the films of Andrea Arnold, Lynne Ramsey or Kelly Reichardt to say Angelina Jolie or Elizabeth banks. I know which ones i'll be watching!
Now the flip side, is that there are a lot of female directors working in TV dramas (not shit ones, but really good shows), so why don't they get a chance at films? The most recent example is Reed Morano, who directed the first few episodes of The Handmaid's Tale & consequently set the visual & narrative tone for the whole series - it's well worth a watch.
But, you just got to suck it up & realise that this industry isn't about what's fair....it's about who you know & how much money can be made.
 

Actor turned director have insight of how actor's head are thinking than someone coming from director's background. I met some people like that and they sure do get some good performance from the actors on stage.

Shocker, I know. I just find there to be some tacit misogyny here and disrespect to actors, too.
About ten years ago, I had a long talk with one of the directors of Mad Men. Back when he was working as a DP on the Sopranos and I think directing some episodes, too, I'm not sure. One of the lead actors on the show directed an episode and it was the first thing directed. And this guy was DPing it and was pretty frustrated at first that the actor/director didn't know much about blocking or lens choice and left a lot of those choices up to the DP. But later, he realized that the actor was getting incredible performances out of everyone, and ended up contributing a lot to the episode, just in a different way from someone with another background. 
I don't know if Robin Wright knows her stuff technically, but I won't assume she doesn't. And if she doesn't, I wouldn't assume she's a bad director for that reason alone. Being on set is the best form of film school. There are plenty of great actors turned directors.
Anyhow that's just my opinion. 

When the C100 was introduced some 4 years ago it was 52 000 swedish to buy the body only. Today I see them go for as low as 12 000 on the used market.
So.. in 2021 a C200 for roughly $2-2500... or maybe even lower with the way the market is going and how saturated it gets.

Another effect might be a massive drop in the used prices of rivals like the Ursa, FS5, FS7, LS300, etc. 

I imagine alot of RED's budget pre-orders are being cancelled today.

The IBIS works well with it but of course with it being a non-native zoom lens its not ideal as you have to tell the camera which focal length you're going to be using.
Its not something you'd be wanting to handhold much though to be honest.
Oddly enough though, despite being 1.8kg and weighing 300g more than my Nikon 70-200 f2.8, it feels far lighter because the 70-200 is very nose heavy. The hand grip combines with that better balance to make it doable - especially as it has the heft to sit solidly in your palm so works well in a look down mode with a swivel up rear VF like the GX80 -  but, as I say, its not really a walkabout lens!
It does function without power but don't expect to be doing a smooth zoom as there is a fair amount of resistance on the ring. That battery plate I'm using (which is a cheapo one for the BMPCC) weighs nothing and has an integral velcro strap and tripod thread so its easy to mount it out of the way with out without additional rigging. You could probably get away with a smaller version of the Sony battery as well but its all I had around.
It covers both HD and 4K without vignetting but you must engage either the len's own doubler if you're using it in 4K mode but if its just HD then you have the option of using the EX-TELE function on the camera instead to achieve the same effect which avoids the light loss of the doubler.

Yes, you just have to modify the html file so that when you hit 'Deploy' it takes you to B&H Website where you can then buy a GH5
 

Thank you so much, @BTM_Pix, you're genius!
Just curious if there is some kind of real possibility of Cinelike D 10bit HDMI output to an external recorder?

Theoretically people can't clap their hands and yet in practise most of us can. How is it possible to see things when I open my eyes? I don't know! But BOOM there the world is. The LUT is a tool and many people have found it useful. That's all. It's not like it's homeopathy or something. 

If you're after vintage, cheap, big constant aperture zoom range and parfocal then have a look at some B4 stuff.
I got this Angenieux for the LS300 as I needed it for the press conference stuff I do but obviously with it now being MFT mount I put it on the GX80 for a laugh!
Its 8.7mm f1.7 with a 15x zoom.
With the GX80 you have to deploy the internal doubler on the lens to get the image to fill the frame so its then 18mm-ish and f2.8 but the LS300 just laughs at that kind of behaviour and uses its VSM to scale it so you don't need the doubler. And it then makes it a 30x zoom by using its Prime Zoom function as well !
£200 for the lens, £70 for the adapter and about £50 for the battery plate, cable and Sony NP battery to power the servo zoom.
It is ever so slightly unbalanced on the GX80 obviously !
I'll put a bit of footage up of it when I get a chance if anyone is interested.
 

Yeah, I use a MacBook Air so it's definitely not ideal. I have it set for Rec709 but I know it's off a little. After I sell a bunch of stuff, I am going to save for an iMac, hopefully that monitor will yield better results. 
And yeah, I think you should definitely extend this piece. The ladies are great in it and I was left wondering what exactly was gonna happen next. This could easily be turned into a feature if you can figure out the red herring. I hope you do. 

I'm not confirming or denying anything but check out the comparison image in the new thread

I'm just working on something to make it a bit more readily deployable in the field and then I'll post it up.
 

Cine D for GX85? How did you do it? Out of likes for today.
Maybe you should give it another thread title...AWESOME: CINE D HACK for GX85! Finally Cine D for your GX85
 
 

Cine D then? Common that would be a Grand Hit! Maybe that exploit could be used for other hacks such as high big rate in HD!
Out of likes for today unfortunately! How did you do it? @mercer, is gonna have to buy two GX85 cameras now!!!
 

100mbit HD please-  it´s getting hot in here!:)
 
 

This is A League comic material: "I can replicate it every time...". Cracking me up, pure genius! But seriously, you have nice subtle color palettes. If there is irritation or falseness in color it is most of the time due to our monitors. Thats why I got a monitor with 99.9% srgb space and a cheap one with maybe 80% to have a little more control over color variation.
Thank you very much, Jon! Maybe a longer version would make sense. Got any ideas for the story? Condition would be, same setting and location and just two actors, to keep it simple and manageable to realize in a run and gun manner. So, up for ideas to reshoot this? Maybe indeed with a third actor? Maybe with my GX80? Though G6 has something, some nice roughness to it once it´s been graded.

Well, thats very interesting!
I suspected there would be some sort of engineering/debug mode it could be put into and what they're showing in those videos is such a specific set of button press combinations that no way has someone just stumbled on it!
The really, curious thing is from this particular video.
And more to the point, why no one has picked up the VERY interesting entry in the Setup screen when he's scrolling through it.
He does it quickly so I've attached a screenshot of it here......ROM BACKUP??????
 

I can offer you a speedboosted Contax Zeiss 50mm 1.7 vs speedboosted modern Nikon G 50mm vs non-speedboosted Sigma 35mm ART comparison on a GX80 if you're interested?