Kurtisso

Yeah, the AXS-R5 is $5,350.00, I imagine that the R7 will cost more. Add $3,600.00 for each TB of proprietary memory... yowza! With fun ways to make money like that, my guess is that we won't be seeing compressed raw in the mid-range/prosumer cams for aaaaaaawwwhile. Probably longer than it took for s-log to find its way into prosumer. I see that Sony is pushing that the R5 and R7 are weather-sealed, are the F55 and F5 weather-sealed too?

That's why sometimes to the client/producer my KineMAX is like an Arri Alexa (can shoot 16 stops DR at 3K in raw with beautiful digital grain, colour and highlight rolloff) and sometimes it is like a RED Dragon (4K compressed raw high frame rates and 6k acquisition in a smaller, modular body). Camera choice for me starts with what do I want to achieve given the concept for the work, can I achieve this with the current tools I own (or do I have to hire) while considering budget generally, and then how do I communicate this to client/producer/director etc... for which if I have to I will put together a combination of test footage/previous work with a bit of a sample look.

If you need to shoot fine details but don't want a dedicated macro lens, achromatic diopters(close up filters) are a good option too. I use Leica Elpros with a 52 - 55mm stepper for Nikkors. The 105mm F2.5 dances pretty well with those

Has anyone tried putting the BMPCC speedbooster on the GX85 yet? It works beautifully on the Digital Bolex

YEAP. KineMAX shoots a few different 4:3 modes as well. it can do 4:3 anamorphic at 4.3k and 4k at 14 stops DR and kineRAW (.krw), or "Golden" 4:3 anamorphic at 2.2k and 2k at 16 stops DR in either krw, CinemaDNG or Cineform.

Good to know. It must be pretty difficult to troubleshoot too. Can't just hand it over at the "Genius Bar" Do you have any experience with running OSX in a virtual machine on PC? I've run Windows in a virtual machine on OSX a bit before but that was buggy as hell.

Hackintosh anyone? http://lifehacker.com/the-always-up-to-date-guide-to-building-a-hackintosh-o-5841604 Cheap build like a PC, but osx and run all your fav mac stuff on there.

MAN. No FPN on real global shutter, rich colour depth, 14.8 stops DR and ability to crank to 60fps? Seriously Eddie, how do we make this happen?!!!!

Awesome @Tito Ferradans, hope it works out!

I just took some calipers to the locking screw of my DS-1609-SB, looks like a 3mm diameter. I would say take it down to Pacific Fasteners on 1st near Boundary maybe. They have a warehouse full of fasteners. I took my Redstan down there a little while ago to get longer nylon screws.

That "intra-scene switchable gain" sounds really kick-ass! From the ON Semiconductor site: "The KAE-02150 deploys an innovative output circuit design that enables high-dynamic range imaging by allowing either conventional CCD (low-gain) or EMCCD (high-gain) outputs to be utilized on a pixel-by-pixel basis within the same image. Charge from each individual pixel is measured and the signal level is compared to a user selectable threshold in the camera system to determine where each charge packet is routed. Pixels from very low-light regions of the scene can be selectively routed to the EMCCD output, while pixels from bright regions of the image – which would typically saturate an EMCCD register and distort the image – are routed to the conventional CCD output amplifier. With this intra-scene switchable gain feature, signals from both outputs can then be re-combined, allowing one camera to properly render bright regions in a dark field of view and enabling dynamic compensation under changing conditions such as headlights entering or leaving an extreme low light scene." Based off of this, and your previous part about identifying the optimal higher base ISO to get the best in DR vs Noise vs Sensitivity, would it be possible to dial in different "sensitivity range modes" for different lighting situations? For example, you're shooting a horizon and it's not the optimal time of day so your forested hills are very dark and the sky is blown, would it be possible to have say a larger range like ISO 200 for higher charge values and ISO 3200 or 6400 for lower values? But then later when the the sun comes down, be able to close that range off to get a cleaner signal to noise ratio? I hope that makes sense... Haha

You sir are "earning the shot", well done!

DUDE. WOW. Still trying to lure @Zach Goodwin out?

Super cool! If more gain = less noise, would that mean a higher base ISO? This with some sort of built in or easily swappable (like the mythical kraft dinner camera) ND would be pretty unstoppable! Also, is it possible with the EMCCD to do something like "dual gain" to increase dynamic range? I get really jacked up about anything not CMOS. QuantumFilm looks pretty amazing too.

Yessss!!! Get DB back to Kickstarter Eddie? I would be incredibly interested in either of those! A D16 with 30fps for that slight slowing, better DR and better lowlight would be a dream. Seriously, sounds like Matthias and I are signed up :P Is this the sensor you are talking about? It appears to see in the dark!

Loving this discussion going on! I am very grateful to hear different perspectives especially if they meander too! Off topic here but speaking of writer/director combo, I'm blown away at Richard Linklater's process for "Boyhood". To have a general structure of the story written for the 12 years, but then to pretty much produce a short episode each year and to have had pretty much full cooperation from cast and crew over the 12 years, pretty astounding stuff! They couldn't sign a 12-year contract either, as anything over 7 was illegal. He must have made an amazing pitch to IFC, getting them to commit to that process.

Awesome! I ran out of likes for today so there's an IOU one for you. Good luck with the script! I'm definitely very interested in learning how to work better with amateur actors and how to write with the intention of walking the line of documentary and fiction. Yeah I check that "shooting" subforum from time to time but it seems to be more of just a screening room for people's work, which is cool and all!

I echo @Policar and @freeman on notes, and definitely from people you trust to give you good, honest feedback but also relevant because you also trust their artistic opinion. If I'm ever confronted with a beautiful shot that doesn't quite fit, I like to tell myself that I can save that shot to sell as stock footage. I never do, but it helps me mentally in the moment hahahahah

100% agree. It's a good thing to have constraints to work with. It really helps to ground my work. Those two titles are added to the list, excited to dive right in!

Thanks for the input everyone. I will add Screenplay by Syd Field and David Mamet's Three Uses of the Knife to the list as well! I'm very interested in learning the pre-existing structure and language of screen writing, so that I can better articulate the nebulous ideas I have in my head, for myself to flesh out concepts and for clients when I pitch and the rest of the crew and talent to inspire better performances and spontaneity. I came across this interesting concept (I really wish I could credit this to where I found it) where you write a script with the intention that everything gets ad-libbed, but you use very evocative language to guide the spontaneity thus getting very natural performances but getting your direction without having to overbearingly direct. Carl Jung sounds like a great idea, I have read derivatives of his work and found them to be really interesting so I will add that too! IMO Psychology, philosophy, sociology and the like are in my opinion incredibly important to understanding and then telling stories about people, their behaviours and decision paths. There's so much to learn from Ancient Greek texts. It's too bad that Hollywood has bastardized many of the ancient myths. I have been trying over the last 2 years to revisit Plato's republic in its entirety, but it's pretty dense and often puts me in a sleepy trance. Which is great, because I used to have terrible insomnia. I agree that form follows content big time. When I was studying interactive design in school, I hated the "designer" connotation that came with it thanks to fashion. Style over substance is a serious piss-off. That being said, learning doesn't stop with a sentence. Things aren't accidental, and studying and learning how to better do one's craft is a constant pursuit. The music that I compose now isn't classical, death metal, punk rock, hip-hop, downtempo, minimal tech-house etc... but I ingested all those things. I also studied music theory, composition and history when I was younger. I don't open any of those books or actively revisit any of that learning before I sit down to write music but it definitely has helped me a lot and I am glad I had that opportunity. In the future here on EOSHD, I'd like to encourage more discussion on non-gear related things, is that something that you guys and gals would be interested in too?

Heyall, I am trying to become a better storyteller and recently I have stumbled across this book by John Truby called "The Anatomy of Story". Before I dive into it, does anyone here have any experience with this text? Also, if anyone has any good suggestions for other learning resources about filmmaking/storytelling I would love to hear! I'm refreshed, motivated and ready to dive deep into 1-a-day film watching (I will fail but try my best) and daily research.

100% agree on the reflector. Bringing down highlight levels in post after they're blown doesn't quite give you the image you're looking for. If only we all had arri alexas! I find also sometimes it helps to back off the LUTs / film emulation a touch, they tend to saturate and blotch up the image a bit I find. And if you combine that with adding sharpness and contrast, it creates this strange posterizing effect on the out of focus elements. Maybe the bitrate hack would help with this too, with more information there, the less the image falls apart when manipulating it.

I am very NOT IN LOVE with my Tiffen vari-ND and might give that SLR magic a try. Anything goofy about the SLR Magic to know about though? I wasn't a big fan of the giant blue splotch that the rangefinder cine has. Also, anyone have any suggestions for bigger than 82mm without going drop in filter holder? My s16 cooke zoom vignettes with an 82mm ring in front.

I just saw a c500 on ebay for $5700 this week...