Riadnasla

@jax_rox Yeah, it comes with B4 lens mount, but you can reasonably buy BMD's custom adapters for EF, PL, and Nikon F. That's honestly a huge appeal to me. @webrunner5 Can you help me interpret some info in the manual? (http://bit.ly/2F9lo2C) Page 223 states that Gain min/max is (-128/127) and ISO is (0/2147483647). Is this able to be interpreted into "normal" ASA/ISO numbers? 2 major concerns with this camera: 1) Clean low-light footage. This camera would earn its keep through conference room recordings with hotel lighting. This won't need to be "no-light" camera, but enough to record from the back of the room with hotel ambient lighting. 2) Versatility. No camera is going to do it all, however this (or any next camera) would need to perform a variety of tasks, even for conference jobs. Tripod following the speaker, steadicam for alt angles etc., and creative ability for promo videos. Just on speculation, while I want B4 DOF for most "boring" jobs, do you think there's a way to get shallow-ish DOF for more creative projects, through using PL or EF lenses? For this camera, yep! (https://bhpho.to/2owwV2d)

I've been seeing a lot of chatter around BMD's new broadcast camera. The price is insane, real-world examples are few to none, and I can't wait to take one for a test run. I'm looking for my next "go-to" camera as an operator for hire. I do a lot of event recording, trying to get into the local TV station, and have just started booking gigs with my steadicam. My main concerns about this camera are low-light (not no-light) and getting a more creative look when needed. For the first, I don't need it to perform for indie films who can't afford more than a light or two. I would need it to perform in hotel conference rooms and urban areas, with perhaps a small d-tap light on top of the camera. For the second, I am planning on buying the PL mount for my 18-50mm T3 cine zoom. But on a 2/3" sensor, how would that react? Would it crop or vignette, and could I still get a creative DOF?

I recently got myself a Steadicam Pilot AA, and am now customizing everything the way I like it. I'd like to run the camera and monitor off of the in-sled wiring, but am concerned about the power requirements, as 10xAA=12v, and the BMPCC needs 12v, nevermind the monitor. I've searched online, and I think I still need someone to help break it down for me. How do I add the different power requirements to know what to supply? Say I have a 12v camera plus 5v monitor?

Hey, sorry for the absence. Been a busy time all of a sudden. The pilot was affordable enough used, and we are just waiting for it in the mail. As for the CAME-TV option, I've read and seen enough where it doesn't react very well until under mid to heavy loads, then the spring loudly complains, and the longevity of it seems to be a bit gimped. As for the electric stabilizers, they are a great tool, but do not achieve the look we are going for. In a vest I can run an entire festival floor without much up/down jostle, however I can't say the same with these handheld electric ones....unless you add an easyrig which is more money and time to setup again.

Just found a used Steadicam Pilot for the same price range.....so nevermind? Still curious for opinions though.

A colleague and I are looking into getting a steadicam-style stabilizer. I've flown Glidecam's HD2000 for years now, and still love it. I'm pushing for a used Glidecam X-10 and vest, but we're having difficulty getting one in the ~$1000cad price range that we can afford. Then I noted CAME-TV's knockoff, last a year or two full rig with monitor and power-wired sled. For $888usd, not bad. What is your opinion of best bang for buck steadicam system? Is there a knockoff you'd recommend, at least for a year or two while earning money to afford better rigs? Specs for reference: We will be flying lighter cameras, especially a C100MkII, but also a built-up BMPCC with heavy lens, mattebox, etc.

Is 8 even real? Holy Frick.

Hey, thanks for the recommendation. All of my lenses work perfectly on my AE-1 and when converted to my T2i and T4i. From what I understand, the BMPCC has a small difference in the flange distance compared to any other m43 photography camera. I'll take a look at the focal reducer, it's certainly be nice to not have as extreme cropping!

Good morning! Recently I bought an adapter from Canon FD to M4/3 which promised to work for the BMPCC...When I tested it, it turned out that the only way I could get a proper focus was to move into macro focusing, meaning that I also had to zoom my lens to make macro focusing available....... Can anyone recommend a lens adapter to convert my FD collection to the BMPCC effectively? Additionally, if anyone can recommend a good "dumb" adapter for EF (EF-S) to BMPCC, I'd love to start adapting Rokinon lenses to it.

Cool! I'll take a closer look. Do you know if it will recognize my lightroom photo metadata as I transition? Yeah, I never buy software in person anymore. The retail cost is simply way overpriced. However, the lower price does make my point even stronger to get off the cloud, eh?

Thanks for the recommendations! Looking through them, they're more geared towards editing the photos, whereas I'm more interested in cataloging and sorting, then doing mild-to-moderate editing, as most of my work is done in camera already. Any ideas for that? The Photography plan is something like $20USD/month ((20*12=240usd/yr)*1.3=312cad/yr ). London Drugs sells a CD copy for around $600CAD. Doing the math, as long as I use it more than 2 years I'll be saving quite a chunk of cash. I don't make money from my photos, but I love the cataloging system of Lightroom.

Ending my Adobe CC Subscription, and just getting a feel for what alternatives there are out there. I am currently a big fan of Lightroom (pre "Classic" "CC" Oct 2017). Should I shell out the $600ish for a CD copy of Lightroom, or is there another cataloging and editing platform you'd recommend?

Hmmm.....It appears "Adrev on behalf of Rights Owner" has filed a claim on my video's music.........that I paid $50usd for. Not happy. Here's a link to my reel on Vimeo.

Lol.....yup. The Gemini can do single SDI, however then you might as well record internally on the C300, except for the clarity of each frame as a photo file. Atomos will give you your generic ProRes file that I consider to be the low-end of this cameras output capabilities. The dual SDI image is worth every penny, even if you transcode it down later, the detail from the original does stay better, since the camera isn't doing that processing with a small onboard computer with time restrictions (recording speed) vs. a editing computer taking its time (1 day export anyone?) That's in 24 or 30fps. The Gemini doesn't do higher framerates, but if you have a recorder that can, the F3 does output 60i.....The new ninja star (2?) does HDMI ProRes, and while not listed in the features, I do see a light indicator for a "i to p" mode in the images....... It will work, but fully built with PL Lens......mine was pretty maxed out. Stability was acceptable, resistance had to be upped to almost locked. Lock tripod properly before letting go no matter what....etc., etc. If you can rent a beefier tripod, it'd be more reliable, while mine has done the job so far. Yup......oops. Colour isn't perfect, only spent an hour or two including picking footage, then colouring, but you'll get the idea. Most of this was shot with no light control, lantern shots had zero lights other than the practical, and lit sets were extremely limited by gear, time, and manpower. Seriously, when 20 ppl get together and I'm the only one who can do camera, DIT, and Lighting? Least they had a dedicated sound guy....would've loved to fire the director.

Cool....don't know the answer to this, but if IQ is a priority, I would advise against recording ProRes when you have DPX available. With Resolve, DPX won't be an issue, but as a native Edius then Premiere editor, it did cause some annoyances, hence the extra step in the workflow. Canon's C-series has done wonders for ergonomics. Period. The F3 isn't terrible on its own, and is actually really small as far as dedicated cinema cameras go, however once you rig any camera to be film-worthy it's going to be a unwieldy package to heft around. My main reason for selling my F3 was simply that I don't work with crews very often, and when I do, they prefer to rent a shiny new popular camera vs 'old faithful. If you have a crew and proper support gear, you can get away with a very quick and relatively small camera. One thing I forgot to mention about the two cameras.....if you do the F3, you will get far more data....like 256GBs lasts 20mins data. For projects that don't need originals, I typically "developed" the footage and added my ownership metadata, then deleted the originals. Even 10-bit Cineform is much smaller than the Gemini sequences. Just be prepared. Some footage I slapped together to sell the camera: https://www.youtube.com/edit?o=U&video_id=1d3Ll9r5VdQ Some pics of the camera built and another in action:

Cheapy-ville here. Due to filesize to budget ratio I bought 2 - 2TB WD drives from Costco a while back, but since Windows 10 does not recognize them separately (apparently it's because they're the same model number?) I had to spend on another 2TB Seagate drive. Haven't had a failure yet, but always keep them duplicated to each other and sent home by separate vehicles. At home I prefer to use my Drobo 5-bay with 12TB usable space. Need to upgrade it.....it doesn't read the fastest anymore.

Limited experience on the C300, though I have graded travel videos made with it before. Internal 422 held up pretty well, and allowed a dynamic image (~12 stops?) on a bright day, as well as some detail recovery in post from inside cathedrals footage. Biggest thing I noticed was that the detail got a bit fuzzy after too much correction, and could only be pushed so far. Still, if you light your scene correctly, can't see why it would be a bad choice. Files would be easier to handle vs dpx. I owned/operated an F3+Gemini kit for several years, and am still blown away by what it could do. 444 is quite an understated upgrade in regards to image detail and colour information, and even though it's "only" 13.5 stops vs. newer cameras with 16, I was easily able to bring the brightest clouds and darkest shadows into proper exposure. Again, the detail pixel by pixel is far better than any .mxf I've seen from a C300...probably something to do that each frame is technically a photograph, not video file. Definitely would recommend this combo. In post, dpx can be a nuisance compared to video codecs, and premiere was terrible at relinking image sequences for proxies etc. The workflow I developed for this was: 1) "Develop" Footage (Resolve colour correction-only, export as 10-/12-bit Cineform) 2) Edit and Grade in favourite NLE 3) Export final Project Resolve has a strong advantage working with DPX vs. Premiere, as it recognizes any sequential files in a folder as an image sequence instead of having to do a special import in Premiere. When I browse in Resolve, each folder shows up as a clip and a separate wav, easy to link in media bin or on timeline.

Good afternoon (PST)! One element I am always confronted with as an editor, is choosing music. I enjoy quite a wide variety of music, and have little difficulty cutting most content to almost any piece. But my problem, is finding the *right* piece. In many jobs, the music has already been requested or provided, however on my current assignment I am having to source the music, get client feedback, then go find more music, etc., etc. Short of browsing Pond5, Songfreedom, Musicbed, etc., for literal days trying to narrow down the search, how do you go about finding a song quickly for your projects?

Thanks.....I am now reminded why I don't upload cinematic stuff to YouTube....... Dat compression.

So while I'm out on a gig yesterday my wife sends me a pic of 3 boxes. Obviously I was excited! So first thing I do when I get home is get rid of the shipping bulk, right? Not at all excited about my new BMPCC, a 14mm f2.5 asph lens, and my Pebble Time watch. Then I did the responsible thing and finished working on a Toyota spot I'm editing, and by time that was done I was looking at 2130h. Ho boy. But y'know, I've been really excited about having a portable camera, and to hell with it, I'm going to film something! Wife and screaming kid wanted to come, so we all headed to a nearby tourist trap. Colour Version: B&W Version: Personally, I like the B&W better, but my wife argues for the colour version. Things I learned with this test: 1) It definitely keeps the info in RAW, but man do I never want to touch 1600iso ever again! 2) The 14mm isn't the best cinematic choice due to the amount of reflections it has in the lens flares. 3) Shakycam is very real with this camera, even with using my tripod as mono- and bi-pod. Can't wait to shoot more projects with it, hopefully with more planning and light involved!

The wife's been pretty good about it all.... But we're feeling pretty called, so if I'm telling her to downside I guess I better do the same. That said, for what I'm doing the BMPCC will be much easier to use, and hence, hopefully used more often. Looks like it just arrived.... I'm on a gig, but wifey tells me that 3 mysterious boxes arrived today.....

As far as I understand it, there are two aspects of filmmaking. Creating beautiful imagery, and telling a story. I love the first one, and why I chose the BMPCC to be my new camera. 12-bit RAW at 3:1 compression. I've ordered cheap filters to learn with and accommodate for the camera's weaknesses. Some of you have seen my F3 work, while not the best, I enjoyed maneuvering the camera and wrangling every bit of detail out of the image in Resolve. I also love telling stories, but always find myself at a loss. I honestly don't have stories to tell, or an opinion to spread. When I lead my DnD group, I must have a pre-generated story, though I can edit and change the story to what my players need. I'm a person who goes on a hike, and instead of collecting interesting stories/sights along the way, just sits down and enjoys the weather (rain especially) for an hour before continuing. My only projects to this day are simply (or complicated-like) collecting others' stories via interviews or narrative work. Some work I am emulating whenever I can get out: Mr. Ben Brown: http://bit.ly/2exHb3G (I like how even though there's not a obvious story, you're still engaged in the beauty the entire time) Tested Arctic - A Short Film: http://bit.ly/2wCc9mg (This is closer to what I'd love to do. Solid, beautiful images, but with a story and ending on an opinion.) So the question of this whole post: What do you personally do to find inspiration, or bolster a story that should be told? What is your process? I am not asking for an idea to fix my problem, but I'd love to learn from your experiences, and perhaps figure this matter out though the conversation.

Nah, it's a good suggestion, and I'd love to have more traffic and conversation on this. I just didn't realize the front page was its own forum and not a sum of the rest.

I mainly have two ways of starting a project. Either with an idea I'd like to explore but have no idea how to, prompting me to bring the camera out and wing it to discover the idea properly. Or, I just sit and soak it in, then realize "I should record this". Either way has me in the same boat as you money-wise. I've spent a lot of time with my T4i and a 200mm lens.....not creeping! But rather, appreciating how different one looks when they don't know a camera is around. I find the "not posing around a camera" is still posing. Other than that I don't really find people all that interesting, though I see your point of being in tune with surroundings. Perhaps I'll make a point of parking more often and just looking around to soak it in. Could you go into this more please? I'm not familiar with the original adage, and beyond taking it as soapbox wisdom, I don't know how you mean it to be interpreted. Oops, my bad. For some reason I thought that the main page was a sum of the parts, not its own forum. I've messaged Jon already to try and have this moved.

Good morning everyone! As far as I understand it, there are two aspects of filmmaking. Creating beautiful imagery, and telling a story. I love the first one, and why I chose the BMPCC to be my new camera. 12-bit RAW at 3:1 compression. I've ordered cheap filters to learn with and accommodate for the camera's weaknesses. Some of you have seen my F3 work, while not the best, I enjoyed maneuvering the camera and wrangling every bit of detail out of the image in Resolve. I also love telling stories, but always find myself at a loss. I honestly don't have stories to tell, or an opinion to spread. When I lead my DnD group, I must have a pre-generated story, though I can edit and change the story to what my players need. I'm a person who goes on a hike, and instead of collecting interesting stories/sights along the way, just sits down and enjoys the weather (rain especially) for an hour before continuing. My only projects to this day are simply (or complicated-like) collecting others' stories via interviews or narrative work. Some work I am emulating whenever I can get out: Mr. Ben Brown: http://bit.ly/2exHb3G (I like how even though there's not a obvious story, you're still engaged in the beauty the entire time) Tested Arctic - A Short Film: http://bit.ly/2wCc9mg (This is closer to what I'd love to do. Solid, beautiful images, but with a story and ending on an opinion.) So the question of this whole post: What do you personally do to find inspiration, or bolster a story that should be told? What is your process? I am not asking for an idea to fix my problem, but I'd love to learn from your experiences, and perhaps figure this matter out though the conversation.