Anaconda_

In the scenario where Metabones do make a new speedbooster, has anyone heard of them trying to build in an IRcut filter into the glass element? That would essentially give the camera a built in filter, so you don't have to buy a new one for every lens, or screw it on and off for lens changes. I don't have any experience with the BMPCC or it's cousins, so not sure how much of an issue the IR thing is. From what I can tell, it's 'ok' until you start using NDs, right?

For holiday videos I separate all the clips into folders per day. Then put that whole folder on a timeline and scrub through it. I cut out anything that's definitely not going to make the cut and leave the rest in the timeline, trimming out the nice bits of each shot. Sometimes I close all the gaps, sometimes not. Now I have a sequence with only usable material. I duplicate that and have a sequence to actually work in, creating your stories. This way, you have the fun actual editing part laid out, and if you need a clip you saw yesterday, you can scrub through the rushes timeline of the day to find it, and bring it back into the main sequence. To take it one step further, you could also label clips green for 'great', orange for 'possible' and red for 'hopefully not, but if I really need it'. Then you can just skip to the orange bits to find those cutaways or whatever. I imagine for the most part each day is it's own story, barring a few situations. So you can even just edit the days as they come to breakup the spotting process a little. Also, what might help is not thinking that your just spotting your footage, but look at it more critically and think how you could have improved each shot, even the good ones. Then it becomes an important part of making the next one even better, which might make it a little easier this time around haha. Another great way I've seen, for premiere users at least, is automating to sequence. It's absolutely amazing, although I guess can take the fun out of the editing to music? (shame about the shitty clickbait title)

So true, I bought this set a while back and use the cardioids for indoor interviews almost daily. https://www.bax-shop.nl/kleinmembraan-condensatormicrofoons/cad-audio-gxl-3000ssp-stereo-studio-pack They're great and cheap €89 each https://www.bax-shop.nl/kleinmembraan-condensatormicrofoons/cad-audio-gxl1200-kleinmembraan-condensatormicrofoon I also use the set for live music. This video was me on sound, lights, cameras and editing/mixing etc. 1 take with a handheld GX80 Sigma 30mm 1.4 and LS300 Canon 50mm 1.8 on a tripod (then fake handheld movements)

Video looks great, nice one. I shoot a lot of live music, performed for the cameras and have come to the conclusion it looks very unnatural to have good sound but no mics in shot. Being able to see the recording equipment (i think) gives the video an extra dimension and makes it feel more professional, as well as more authentic. I even like to get glimpses of the lighting in the frame every now and then. Let me know if you'd like some examples :) Especially with acoustic music, I think needs the errors and faults of a live performance to appear real, so I would advise against lip syncing.

From my understanding, they've been recommending the 0.71x adapter as this will get the best out of the sensor before you start vignetting on aps-c lenses. While it might be best to wait and see what Metabones come up with, a BM rep has said this:

Here's some more info, but it's more that I thought these were funny questions to be asking about this camera. And this one answers my thoughts on having 3 audio inputs. It doesn't sound like you can record a stereo track via the 3.5mm socket AND the XLR at the same time. You'll have to choose if you want the left or right channel off the jack. Perhaps you can mix left and right to one single track, but that means you can't really control them independently once its recorded. That said, most of the boxes I'm talking about have input level control anyway. As long as you get it right while recording, this could still be a viable option if you NEED 3 inputs.

Haha me too about the kids birthday. What better place to test a camera then a place where nothing is planned or controlled haha! by 3 inputs I mean the mini XLR in the camera and then 2 XLRs on the adapter-box. Those two would go into the cam via 3.5mm stereo jack sending input 1 on left and input 2 on right. You'd effectively have 3 mono tracks. Of course that's assuming you can record that input as stereo on a single track... looking here, maybe that's not possible. Ideally, you can change 'CHANNEL 2 SOURCE' to be 3.5mm Stereo - Stereo. I guess we'll see at release. I do that LUT workflow all the time with my LS300. I record to an Atomos recorder with an 'INDOOR' or 'OUTDOOR' interview LUT to give me a good idea of what the grade will look like, but only record the log file and grade it later. It really helps with exposure, and makes the focus tools on the Atomos work a lot better than trying to show peaking on the flat image.

Thanks @kye - the post was mostly an attempt to get things back on track, thanks for picking it up. That's my thoughts too, stick some fluff over them and have them as 'usable' mics for those times you need to film a kid's birthday in 4k60p RAW, and don't want to add anything to the body. On the subject of audio, with two separate inputs, I was recently pondering an XLR box like this. It could be a fun way to add more mics that other cameras, even higher end ones, can't actually do. With this you'd techinically have 3 separate phantom power inputs. I regularly film live musicians performing for a camera, I have one on legs with the main vocals and guitar going into that and then the secondary instrument, generally another guitar, going into a Tascam Dr40. With this setup, I could have all 3 sources going into one camera, and separate the stereo input from this box into two mono tracks. Alternatively, it'd be good for interview situations with two subjects. You can mic the interviewer and both subjects with no need to sync anything later. hmmm.

With so much attention from Grant Petty being put on the audio options, and with 4 mics built into the camera, what are people expecting from it regarding wind noise? My experience with most cameras of this kind of size and shape is wind is very disturbing and renders the (usually not very good anyway) internal mics totally useless for outdoor use, even as scratch audio. Looking at it, I'm starting to think that positioning the microphones next to the lens mount, instead of the usual places like the top left corner or in front of the hot shoe, might help shelter them from the wind. That on top of the fact that all exposure controls are on the touchscreen means there probably won't be much handling noise while operating the camera. Although maybe if you're adjusting focus, the mics are more likely to pick that up?

Let me put a point on this: Who gives a shit. Can we please stick to talking about this camera, it's highs, lows, competition, accessories and application. If you feel the need to post about other users, or argue about who said what and under what context, I'm sure most people here would prefer you do so elsewhere. Maybe you can contribute here: Thank you.

Quicker link for those who want to sign: http://www.change.org/p/blackmagic-design-we-ask-blackmagic-design-to-add-super-16-windowed-mode-to-pocket-4k-camera

This is ridiculous guys. Maybe there should be a 'bullshit' thread? Is it a good idea to talk about the projects people hope o have this camera in time for? I'm shooting a film festival in September and really hope I have this in my bag by then.

BM just cleared up the cropping thing for me. I was under the impression HD 100fps would not be cropped, but 120fps would be. I thought I heard a rep say that, but according to this, I was wrong. I wanted to share for anyone else who thought the same.

Just to jump back on the Jlog flatness thing. Here's an interview I shot today as an ungraded and graded frame (only 5 minute grade, but it looks nice to me) This had 3 lights, in a more or less traditional 3 point setup. Feel free to give it your own colours and share

I just found this. If you go to page 12, there's a lot of info on what the LS300 does with the RAW data from the sensor, and the various ways the camera lets you process/record it. However they seem pretty adamant that nobody wants RAW, and say in large red font 'RAW access is NOT needed (or wanted) in the broad-market television world.' http://pro.jvc.com/pro/pr/2015/nab/JVC_4KCAM_WhitePaper.pdf Perhaps their stance will change, and they'll add an update once ProRes RAW gets tested properly and is released. It'll then become more accessible and a feature many would look for in cameras of this range.

I came across this and knew you guys would be interested! https://www.theverge.com/2018/5/19/17372510/red-hydrogen-one-smartphone-hands-on-photos-video

So it's not that RAW is the same for all cameras. I was thinking you could copy paste the grade from one camera to the other, so long as they were exposed the same when shot. Giving you a good starting point. Ah well, nice idea but not exactly a deal breaker haha

Does anyone know of a way to take negative photos with the gx80? I'm currently digitizing a whole load of 35mm negatives, so if I can take negatives of the negatives, it'll save a bit of time in Photoshop haha.

Excuse my ignorance, but can Raw files from multiple cameras be treated the same way? For example, if the LS300 did get RAW output, and you recorded it to an Atomos recorder in ProRes RAW, and then shot with the new BM camera as you're Bcam - will the two match pretty well, with much less time and effort than Jlog?

To get the best out of Jlog, you need to over expose a little. This also makes the image a little flatter, in appearance at least. Here's a sample with the Canon 50mm 1.8 (I think), with a non-speedbooster adapter Internal 4k 25p 422 8-bit Edit: This frame is soft, but I wanted to show that Jlog can be flatter than BTM's samples. This is the only ungraded footage I have to hand right now.

Right, but the article isn't about the ovation is what I'm saying. The article is about people taking offence, which to me isn't the news. I could have told you that on Monday. Maybe I could have worded it better, my bad. Edit: just to add to my point about Von Trier's name being bigger than his movies. Remember Tarantino turned up to Cannes with 'Reservoir Dogs', where a man's ear is cut off. Then 'Pulp Fiction' which is also violet, and then he made 'Kill Bill' (not sure if it went to Cannes) but the point is, there is a way to make violence and gore acceptable for the Cannes / mainstream community, but Lars chooses not to do that in order to provoke this exact reaction. We and many others are discussing, arguing and talking about his movie, while other, perhaps bigger and 'better' movies have passed us by.

I like some of Von Trier's films, I've not seen all of his movies, but there is something to be said about a man who keeps making exactly what he likes regardless of the criticism he's faced over the years. Cannes is simply not the audience for him. I'm working there this year, filming on the red carpets, junkets etc. There's not many fantastic films here compared to previous years, and the ones that stand out tend to be very 'leftist'. A few that spring to mind are 'Girl', about a transgender ballet dancer, 'El Angel' about a homoerotic gangster (based on true events) and 'Sauvage' about a rent boy looking for love. - None of these are competing for the Palms, but 'Girl' in particular is expected to run as Belgium's foreign language Oscar next season. On top of that, 'Total Recall's Paul Verhouven - also of 'Black Book' and 'Elle' announced his next movie, a love story about lesbian nuns called 'Blessed Virgin', which he assured buyers will not be pornographic, but artistic. Oh and then there was 'Star Wars' of course. With this brief list, and of course there are films I've missed out, but where does a hyper violent art movie fit in? Von Trier has never really been loved at Cannes and has previously been banned by the festival after his bazaar nazi comments in the press conference for 'Melancholia'. They're simply not his audience, but as long as they keep accepting his films, he'll keep playing them there. There's no such thing as bad press, and for a Von Trier it almost seems like negative reviews from the press make his real audience want to watch them more. If the general public and movie press don't like a film, then they simply don't understand it right? Luckily, those who can see the subtleties in the art of genital mutilation will stand by their loved Danish director, regardless if they actually like the film or not. Lars has made a name for himself and in many ways, that name is more important than the films he makes. He could piss in a bucket and people would watch it. And honestly, if its filmed like the first scene of 'Antichrist', I'd probably enjoy it too. Sorry for the rant, but to me Cannes rejecting a Von Trier movie is just not news. If they applauded him after the screening, then I would have been surprised. ------- TLDR: just a whole load of BS really

BM are just catching up

I still use the LS300 almost daily for interviews. It's a great camera, and I've said before, I prefer using it to the FS5, although that might be due to lens choices on either cam. We only have the Sony 18-105 on the FS5, which I hate, but the LS has Sigma 18-35, and Canon 50mm 1.8. So that's of course going to change the image ALOT. As far as if that camera is a good buy in 2018, I wouldn't buy it again now, unless they can squeeze RAW output. It's been a great cam for me in the 2 years I've had it, and I've loved using it every time I have, but with the little devil of a camera coming out (hopefully) soon, I'd rather get two of those than an LS300 with the Ninja V. I'll definitely keep and use my LS300 for a little longer though, it really is a great camera and I love the form factor.