kye

That's a fascinating comment. The photog blogs have been full of "Guess which newspaper just fired all its photographers" articles for years, so it's interesting to hear that there is some in-sourcing going on again. For a while there it seemed like the only permanent staff who operated a camera were going to be reporters using their iPhones to shoot the front cover of the NY times. I know that the move in the industry has been from stills to stills/video and with the rise of decent 4K you can just shoot video and take a still from the video, but there didn't seem to be the new video jobs being created.

Plus it's great for low light - with f0.95 lenses we get exposure around T1.0 but DoF at FF equivalent of F2 which is much easier to maintain focus. I'm not attached to MFT but that one is a pretty significant aspect to get past.

Well, if it costs 2 kidneys then you'll only live 2-3 weeks after buying one, but on the up-side they'll be cheap second-hand!

If I shot FF and didn't mind having a reversed MF direction, I'd just get a full set of the Takumars. They have this character that is rarely seen elsewhere, plus the build quality is absolutely excellent. One method that is very interesting is to convert the image to B&W in the last node and do the processing before that, as that means that you can use the colour information to enhance the look of the image by adjusting the brightness of each colour with a Hue vs Lum curve. Basically you just raise and lower each hue to get the nicest contrast. For example, if you had a shot of a model in front of a green hedge where the sun was on both the hedge and the model then a straight B&W conversion would have the model and hedge as roughly the same brightness. But if you lower the luminance of the greens then you can keep the exposure on the model but darken the hedge without having to make masks or do anything manually. If there were blue flowers on the hedge then you could brighten those up so now the model is in front of a dark hedge with bright flowers, etc. The technique can really take B&W images to the next level.

Maybe they'll have another offering on the R5 level and wow everyone.. C900 with RAW 8K, 10-bit 6K60, 5K75, 4K120, all internal. Of course, it would be a squillian dollars, but you know, whatever

Well, after reviewing the evidence, apparently I was! LOL. I second @kaylees suggestion of a vlog... I think the recipe for a good vlog is 1) being interesting and 2) having hijinks. I haven't met either of you, but I'm willing to say you've likely got both!

No personal experience with CZ's but in my research I came across more than one person saying that the 35-70 was the best lens ever made, bar none, so it's got a bit of a reputation. I think the slower aperture might eliminate it for some people, but IIRC it's pretty good wide open so realistically that's better than a 2.8 that doesn't sharpen up until it's stopped down a couple of stops. Show us some footage already!!

OH NOES!!!

In order to use Large Format lenses? When will it end?!?!?!

Not sure if this answers your question, but it has a punch-in feature that can be assigned to one of the buttons.

Great looking images, especially this one, which at first I thought might have been selectively blurred in post because it had that painterly / impressionistic rendering of the out-of-focus areas: Also, a question - you mention you don't like focus peaking, are you using the AF or are you focusing manually without peaking? I'm curious as the peaking on my GH5 leaves a bit to be desired and I've contemplated just turning it off and doing it by eye..

Great looking images. Nice work, and really cool to have that resource. What kind of projects are you shooting with it?

I'm not sure how much you know about vintage glass, so forgive me if I'm telling you things you already know... One thing I find useful is this page: https://en.wikipedia.org/wiki/Flange_focal_distance which lists flange distances, and everything with a greater flange distance than the mount you're using (EF in your case) should be easy to convert. For me, the interesting ones might be: M42, Pentax K, M39 (if you're interested in much earlier vintage glass), Contax C/Y, Nikon F (lots of great Nikon glass around).. Also worth a look: http://www.reduser.net/forum/showthread.php?92044-Contax-Zeiss-Survival-Guide http://www.reduser.net/forum/showthread.php?152436-Russian-Soviet-USSR-Lens-Survival-Guide http://www.reduser.net/forum/showthread.php?139153-Mamiya-Medium-Format-Lens-Survival-Guide https://www.pebbleplace.com/databases/contax_database.html https://www.pentaxforums.com/lensreviews/Pentax-Takumar-M42-Screwmount-Lenses-i3.html Lots of great info out there if you're willing to put in some time on google..

Another one on "poor man's process" from Mark Bone: He goes into more detail than the previous one, so if you're filming driving scenes then this is pretty good. This whole thing should work fine if you're going to throw the background out of focus even a little bit, because you can blur the background projection and as long as you're blurring the pixel size on the projection then it will look fine.

Are you going to go fully manual lenses? That would be a pretty sweet setup with some nice vintage glass, and there's a ton of M42 or PK lenses that are great and relatively affordable

I'm an amateur, so I make $0 before tax, and my P&L shows huge net losses every year... Having said that, I've watched a bunch of YT videos from people who are actually professional film-makers (weddings, music videos, corporates, etc) and I've found there are a few common threads: You get paid almost nothing at the start You will get paid for work one or two 'levels' below what you're actually delivering How much you get paid is limited by your ability to sell, and your confidence in yourself The sky is the limit, just like in professional stills photography where you have weekend warriors who don't cover equipment or fuel costs and you also have famous photogs who are rolling in it If you work hard and do the right things to grow fast, then you can make a comfortable living (ie, more than an average office job) in only a few years It's worth watching a bunch of YT videos on it and there's surprising amounts of info out there. People won't tell you how much, but they do discuss how much jobs earn and likely costs, or some talk about how their income breaks down in percentage terms, etc. Good luck! and get ready to work your ass off.

I see two mindsets when it comes to overall consumerism, people who concentrate on what they have and people who concentrate on what is for sale. The people who concentrate on what they have follow this logic: Use what you have to do what you want to do On some kind of regular basis evaluate how well you did (at the end of each project, maybe annually, etc) Identify what are the most significant shortcomings are in your work, then work out how to address them If any of those shortcomings are from equipment, then have a look at what is available and if something will help you then buy it The people who follow what is available do this: See a new camera is available Read many reviews, trying to sift through the vast discussion about their positive features to find the little 'gotchas' that indicate the limitations of the equipment Watch endless sample footage, fantasising that they are somehow a different style of film-maker living in a different part of the world Try and compare multiple products that are all designed for different applications against their poorly understood requirements Buy something, maybe multiple things Spend ages working out how to make them work Discover all the hidden limitations that weren't in any review because the reviewers were all trying to be first to beat the YT algorithm Maybe film something Then, 2 weeks later another camera is released and back to the beginning with you! Out of all of my many flaws, one thing I can claim is that I started with a $97 point and shoot camera on my first overseas trip, and every upgrade since then has been based on me using the equipment I had in the real world, looking at the results, and then upgrading only when the weaknesses I wanted to address required equipment, as opposed to education or practice. I love equipment and technology, but I'm far more interested in getting the most out of what I have rather than buying new stuff because it looks shinier than what I already have.

The secret is in the title of the video.... the three words you should be paying attention to are "$80", "projector", and "trick"

Yeah.

YouTube has a comments section?

And here's the poor persons version: There's a heap you can do even with a very low budget.

None of those things are unique to the P4K - any camera body would require those things under similar circumstances. In terms of how small a percentage the camera takes up in a rig, leave the P4K alone and go look at smartphone rigs they use to shoot the "Shot on smartphone" ads! This is a very nice lens.. well made, sharp wide-open, and wide as all hell even on my GH5. In terms of lenses for the BMMCC, i'm thinking the above, a 12.5mm c-mount I have, and the Panny 14mm f2.5 are all great choices. I don't really see the 2.88 crop factor as being that much of a limitation. The battery life, need for an external screen, terrible buttons and ergonomics are a different story though! Of course, then there's the image which might make someone forget about all the rest of those things....

Justin Odisho - https://www.youtube.com/user/Justthisgood His channel is a bit of a mixture of stuff, but if you go back through his back catalog then you'll see videos where he re-creates various effects from music videos using PP / AE. I think he might have named those ones "music video breakdown" or something so searching might be useful.

The camera hasn't left the box yet and remains un-modded, unfortunately, but the project is still on my list. The idea is definitely a good one. Do you know anything about how they're constructed? When I was researching the action camera mod I discovered that most of them are based on a CCTV lens standard called M12, which is a screw-type mount and there are cheap lenses all over ebay for it. If you can get the cameras apart then you can just break the glue and unscrew them, replacing them with other lenses, and finding infinity focus before locking them in place. Amusingly the lenses are often sold with the spec of how many MP of resolution they have, and 2MP is the common one, for that cinematic vintage 1080 feel I'm less optimistic that the smartphone lenses will be as accessible a standard..