I've come across some pretty nice sensor chips related to one of my cameras. So, I'm curious about getting a 3-chip prism I could attach them to. I literally could buy three devices that used them, strip them, and attach them to the prism. I've heard about making them many years ago, so which ever is easiest.

This is a curiosity.

Everything is in excellent condition and it comes with original packaging.

PM if interested.

Includes:

Came Mini Stabiliser Balance Stand Carry Case (Padded) Joystick Control 8 x 18650 batteries (large capacity)

Does not include original charger as in my opinion it is not safe to use. Would recommend buyer purchases a D4 Digicharger (£30) Batteries are fully charged so it could be used straight out of the case.

I have modified the PID settings very slightly in the following way:-

• I have changed the joystick control to allow tilt up and down and left and right roll (default is tilt and pan)
• I have increased power very slightly to try and reduce the amount of bounce and on the setup shown in the picture this proved to be very successful
• I added callibration modes to user settings 4 & 5 for on the fly re-callibration when needed.

These settings can be reversed with a little knowledge of the SimpleBGC software and I would be more than happy to assist potential buyer with this. However, I personally feel these settings make it better and much more usable for run and gun type situations.

Some examples of the gimbal in use can be found in all these films:-

• ( 45 seconds )

£425 - please PM

Thanks, Steve

• Panasonic GH2 Body only: $350.00 + 3 batteries, two chargers. Two battery are genuine Panasonic. Other is off brand. $70 for 2nd Panasonic and $40 for off brand. (Original Box is available if you'd like
• Nikon Nikkor 50mm F1.8 AIS: $70.00
• Nikon Nikkor 24mm F2.8 AIS: $150.00 - protrusion filed down to fit RJ Lens Turbo. Operates perfect! Original buying price. $250
• RJ Lens Turbo - Nikon F/G reducer speed booster turbo adapter to m4/3 mft GF5 GF6 GX1 EM5 EM1 BM - $100 (Comes in original box)
• Lowell Pro SlingShot 102 : $60.00 TOTAL: $860

Original price for all totals over $1000.

You can opt to BUY ALL for $700. I'll put it all in the Lowell Pro Sling Shot 102.

PM me if interested. US only. Paypal only. Buyer pays shipping. All equipment is well taken care of and maintained. Here are some videos I've made with this little powerhouse!

"...As Apple released the third generation iPad we saw two different reports suggesting that this new device had very accurate color – even describing it as being close to a professional broadcast monitor. That claim seemed like something we should check out so we loaded up an iPad 3 with normal test images and borrowed a Photo Research PR-650 SpectraScan Colorimeter to test it. Testing a $500 consumer device that has only a brightness control with a $12,000 Colorimeter – Hey why not?" Rest of article is here: http://www.fxphd.com/blog/just-how-good-is-the-ipads-color/

Also I've attached some color gamut comparisons from this article: http://www.negativespaces.com/blog/2012/3/27/new-ipads-color-gamut.html

Other useful articles: - http://michaelcioni.tumblr.com/post/19561057034/ipad-going-invisible - http://www.displaymate.com/iPad_ShootOut_1.htm

I know there is an ipad 3 thread, Vitaliy, so feel free to close this if you think it fits there. But I think it's maybe worth talking about and having people share their experiences of using the ipad 3 as a color reference device both on set and during color correction. So what do you think people?

It's true that we can't really use it as a "grading monitor" in the sense of connecting it to Davinci, BUT it provides a way to check any color grading you do on something that is basically as reliable as a broadcast monitor: you'll just have to take the extra steps of exporting a file (like h.264) for viewing on the iPad. Sure it's not perfect, but otherwise you'll have to spend over $2.5K to get a "professional" monitor.

The "measured" is the iPad 3.

There aren't many review (or any really) for the all steady but from what I can tell it seems pretty limited in terms of having access to different modes. There are 5 modes which are pre-programmed to:

User Setting 1: Lighter configurations with full follow. (e.g. Panasonic GH4 and the Sony A7S/A6000) User Setting 2: Medium configurations with full follow. (e.g. Canon 5D Mark ii/iii camera with up to 24-70mm & 24-105mm lenses) User Setting 3: Heavier configurations with full follow. (e.g. Canon 5D Mark ii/iii camera with up to 70-200mm & Red Scarlet/Epic/Dragon which requires optional extension brackets or cage upgrades.) User Setting 4: Lighter configurations with disabled joystick under multirotor or with optional wireless joystick to work on top of tripods or under crane. User Setting 5: Medium configurations with disabled joystick under multirotor or with optional wireless joystick to work on top of tripods or under crane.

Their idea being that once you receive the gimbal you'll never have to adjust any PID settings since they have presets that should have you covered. However what this means in reality is that you only really have 2 modes to use - "full follow" and "Wireless joystick". Your other 3 modes are taken up with presets for cameras you may or may not use. And if you're operating a heavier camera then its just one mode!

I called Turbo Ace about this and they said they would pre-program any mode(s) you needed for your order, but that would take up one of the 5 slots. That would be fine if you knew what camera you'd be flying for your duration of your ownership of the gimbal but if, say 6 months down the line, you change cameras and you go up or down a weight bracket you'd have to send the gimbal back to Turbo Ace for them to re-program the gimbal. They'd charge for this a rate of something like $150 per hour.

Now I've never owned or operated a gimbal before but it seems a bit strange to me to be kinda locked in to what ever you have when you order the gimbal, unless you're willing to pay up. It would be great to know from other Gimbal owners if the "full follow" mode is enough. The gimbal comes with a thumb joystick btw.

Are any AllSteady 6 owners who can give some feedback on their experience so far?

Thanks

http://www.cinemountsystems.com/shop/proglide-3-axis-gimbal-stabilizer-ildc-brushless-gimbal-for-gh4-nex-sony-a7-bmpcc/

The second part was recorded with Red Epic, Red Scarlet and GoPro HD Hero 3. But interesting all the work that's involved in the actual realization.

SETUP 1: Panasonic LUMIX G 20mm f/1.7, Sigma 30mm f/1.4, Canon EF 50mm f/1.8 II

SETUP 2: Tokina 11-16mm f/2.8, Nikon 28mm f/2.8D AF Nikkor , Nikon 50mm f/1.4D AF Nikkor Lens

I'm going to be filming for the most part, short films, and I want lenses that will give me a nice cinematic feel? (can't find the right word to use here) But, just want to get your guys' opinions on these setups and what you guys think I should do. I am on a budget here so if you are going to make other suggestions for setups please try to keep it below $850. Thanks!

Filmed with my Panasonic GH3, GoPro 3 Black, and Modified Full Spectrum GF1 simultaneously. I shot with the GoPro on the GH3's hot shoe so I would have simultaneous wide angle and tight views. The GF1 was on a tripod and was put in Black and White mode with contrast turned all the way up because of the extra UV/IR light that is let in. It can literally see in the dark.

No color grading was done at all. I simply don't have time for it. This is straight out of the camera video just pieced together with the music.

I think the future of filming is multiple cameras operated by a single person. Maybe just a pipe dream but it is still my dream.

He really just wanted to challenge himself to do it. He has run really close to the 4 minute barrier indoors but he hadn’t ever broken that magical number in an officially timed event.

My father had always told me about how great the day was when Roger Bannister broke the 4 minute mile barrier. It was thought to be impossible back then(1954) but somehow Bannister proved them all wrong. Check out the video below to see what that race was like.

I was literally obsessed with trying to become an elite runner when I was 9 years old. I trained by myself harder than any 9 year old should ever train. I was running 10Ks flat out nearly every day in hopes that one day I too could reach that magical number.

However, no matter how much I trained I couldn’t beat the kids that had elite coaches and knew how to train properly. I became frustrated with the middle distances and then ran my first half marathon at 13 years old. After that I didn’t run distance again until my first child was born 15 years later.

The 4 minute mile is not what it once was. At least 1000 people have run under that time and Daniel Komen has run sub 8 minutes for two miles twice before. In one of his attempts both of his consecutive miles were sub 4 minutes.

However, the feat is still just as hard as it was before. No woman has ever even come close to breaking the 4 minute barrier. The world record for women still stands at 4:12:56 but the men’s record was an astonishing 3:43.13 and the second place runner was right behind him. Check out this video to see what that race looked like.

When I saw that it was free to come out and watch Sandy make his attempt at this elusive goal I grabbed my GH3 and GoPro 3 Black and headed down to Cardinal Gibbons High School. I wasn’t expecting anyone else to be there but to my surprise there were hundreds of people there already.

The track was abuzz with spectators anxiously awaiting the high school football team to finish practice so the race could start. Half an hour later Sandy and his brother(Pacer till 800 meters) were ready to toe the line.

Then it happened. The entire stadium went dead silent. You couldn’t hear anything. Nothing. Just silence as the brothers hurried to the line. No count down. Just a single gunshot and the two runners were off at a torrid pace with a sea of people surrounding them.

I sat alone in the stands. I wanted the best view of the entire track. I was there to capture the moment. I was there in admiration of a fellow runner that I knew could do what I had only dreamed of.

I will let the video pick up where my story left off. I think it does the event justice. I didn’t shoot any stills of the run because they simply don’t tell the whole story. The noise from the crowd is just overwhelming.

It seemed like it wasn’t just a single runner out there. It seemed more like hundreds of people giving everything they had to will this lone runner around the track. In the end breaking the 4 minute mile wasn’t really the goal.

The goal was to introduce running to as many people as possible. That goal was accomplished.

Please watch the video below and enjoy.

Whats it all about? Achieving the best looking overall pictures around - throughtout the popular GOPs. The great thing about Cluster X developments is you can mix and match some of the settings to combine into your favourite setting (e.g. GOP1 for 24p and 25p/FSH, GOP 6 For 1080i60/30p and 12/15 for 720p etc...). Slipstream settings do this for you (mixed and matched and with spanning capabilities where we can plus 80% modes on H & iA mode support).

This has been a tough (and still ongoing) challenge, each setting (and ptools patch change) takes an age to check & measure. Its exhausting work - even with 4 cameras on the go. The measuring to check Quantisation, frame sizes and stability adapting one change at a time is pretty debilitating on mental energy. I hope people appreciate waiting for each setting to appear.

All the new Cluster X series settings for each GOP attached below have been tested on the notorious 14-140 Pany sharp lens. Give me feedback.

Its as simple as A, B, C, D, E, F ! Each .ini setting in ptools for Cluster X Series will equate to setA ('DREWnet' 12/15 GOP), setB ('Nebula' 6 GOP), setC ('Spizz' 3 GOP), setD ('Moon' 1 GOP/3 GOP), setE (Slipstream 1) & setF (Slipstream 2). Any updates will stay on these sets.

"Bitrate is King. Who needs hi powered scaling matrices when enough Bitrate (if you have it) can drive the quantisation..." Quote from my conversation with Dark Shikari - X264 dev 2012

If you enjoy these settings please don't forget to donate to personal-view by clicking on the link above. Gratitude and thanks to Vitaliy Kiselev.

.

Cluster X 'Slipstream'

A series of GOP combination settings drawn from the Cluster X series but set at nominal bitrate settings (40 to 72Mbps) to achieve a better spanning percentage for longer recordings plus the ability to be used on slower sd cards. Slipstream attempts to correlate the actual clip duration to the TS (transport stream) duration whilst providing error free population of the cpb buffers. And it seems to work very well at these settings. :-)

Slipstream #1 (Rev B): Release Date: 10/03/2013

A mix of Nebula and DREWnet settings all tightly packed into 72Mbps max 24p and around 40-52Mbps for everything else which in my PAL tests SPAN! You also get 80% mode at 24H and iA modes working. NTSC 720p60 and FSH/HBR30p should now span.

1080p24/1080i50/HBR25p/720p50 at GOP 6 1080i60/HBR30p & 720p60 at 12 GOP

Slipstream #2: Release Date: 10/03/2013

Including;-

1080p24H 88Mbps GOP3

FSH1080i50/HBR25p 60Mbps GOP3

720p50 62Mbps GOP6

FSH1080i60/HBR30p 44Mbps GOP12

720p60 52Mbps GOP12

Slipstream #3: Release Date: 15/03/2013

Including THE GH3 MATRIX ON ALL REC MODES;-

1080p24H 150Mbps GOP1 (moon style)

FSH1080i50/HBR25p 70Mbps GOP1

720p50 62Mbps GOP6

FSH1080i60/HBR30p 64Mbps GOP3

720p60 52Mbps GOP12

NB: Ive had one occasion where the camera just freezes with no apparent error. If this happens simply leave the camera alone for a minute or two until it fully writes out to sdcard (emptying all buffers) THEN turn off/battery pull. Hopefully you will notice that all your spanned files are there on next powerup.

It started out as a little test of my new toy, the GoPro Hero 3. Just wanted to see how good it would hold up. Then I decided to make a little short film, as I really liked what I saw ;-)

Shot entirely on the GoPro Hero 3 in 2.7k 24p and 1080p protunes mode. I find it amazing how far you can push the grade to get a cinematic looking image. This is a 399 USD camera after all! Download the 1080p file and have a look if you like.

Music by Seu Jorge and Almaz, Everybody loves the Sunshine (available on iTunes)

3D Rig:

Shoulder Rig:

Test video 1:

1080p60, Narrow FOV, Protune, CamRAW WB

Neat Video, Magic Bullet Looks, a little Shadow/Highlight to recover the clouds

Here's a frame without 3D for reference:

Gotta say, I LOVE the dynamic range on these cameras! Unless you're shooting something really dark, all but the brightest highlights (ie. the sun) can almost always be recovered in post. There doesn't seem to be much of an issue recovering shadows under most conditions, either. Of course, you'll need to use noise reduction on more serious shadow lifting. I find Neat Video invaluable for heavy processing, as it will remove blocking on smooth areas once you start pushing the limits.

Rig Setup:

Pretty simple, actually. For the 3D part, I got a pair of macro sliders, tore off the rubber surface grip for the bottom piece, removed one of the mounts for use as the top piece, used a 1/4-20 hex standoff to link them together, and slid the GoPros inside. The tension holds them in place perfectly, and the gap from no grip lets me perfectly align the cameras in parallel. The only downfall of this one is that things 5ft or closer tend to hurt the 3D effect, since the lenses are spaced around 3" or so apart. If you're focusing on a subject further back, close objects will look quite a bit off. Same with close subjects, things behind him will be off. After about 5ft, though, everything is fine. I'll be making a more sophisticated and lightweight setup soon, which will allow me to invert one of the cameras to get the lenses much closer.

For the shoulder rig, it's just a Cavision shoulder pad with some 15,000mah USB batteries gaffer taped to a flat section of a flash bracket, screwed into one of the holes in the back. I have a Swivi monitor up front with the 3D rig mounted onto it. It's really lightweight, but I definitely need something more in back to balance it better.

As far as battery life, I left the GoPros running for 6hrs straight. I was able to monitor the battery life through the Swivi's meter, and after that time period, even with the Swivi on, I only used about half the battery. So I should hopefully be able to get around 12 hrs max from that setup.

Here's my Red/Blue workflow:

As far as syncing the left and right, I've found that they're usually about 2 frames off. I try to find and event that is easy to spot on both cameras (subject just passing in front/behind something, light turning on, etc.) to do an easy sync. If that doesn't work, Pluraleyes has no problem matching them up.

Once that's done, I color correct and grade, then apply the 3D Glasses effect in AE. Using the Difference mode, I can align the frames and set keyframes, so the focus can follow the subject no matter where he moves. Then set Keframe Interpolation to smooth the transitions. It's tedious, but the effect is worth it.

Finally, I'll set to Balanced Colored Red Blue and adjust the Red/Blue balance to reduce/eliminate ghosting, scale up to get rid of the edges (aligning will throw them off), and export.

And for Side by Side:

A lot of it is the same, though I seem to have issues with the 3D Glasses effect in Stereo Pair leaving lots of empty space around each frame, and you can't scale each side up individually to fill it. To get around that, I set everything up in the 3D Glasses effect, then export the left and right sides individually. This aligns them properly from the start, so I can get around the empty space issue. Then I do correction and grading, and put them into a double-wide frame next to each other (3840x1080) to get the side by side 3D. YouTube doesn't seem to have a problem with this, though I'm not sure if it would be compatible with any place else.

In the end, it's not really much more work, just more time waiting for it to encode, and with the double wide setup, you get true 1080p 3D.

A note about Premiere/After Effects and 5DtoRGB:

Both Adobe programs will crush the highlights and shadows a bit, at least in Protune. Running the video through 5DtoRGB first will prevent this from happening. It'll also create a much higher quality file than converting through Cineform Studio, since it interpolates color, reducing blocking artifacts. Plus, you can reverse the Cinestyle curve while converting if you want. 5DtoRGB also makes the reds look redder, instead of the slight orange cast they seem to have.

I know the editing is poor in this video. I shot WAY TOO MANY things this weekend and just didn't have time to do the editing justice. Take it for what it is. Just a bunch of samples from both cameras.

I tried editing the colors on the first few clips but after that I just didn't have time. I shot in 720p 60 FPS and F2.8 for the GH2 shots(Can you tell which one those are?). And I shot at 720p @ 120 FPS Narrow angle non-Protune, 720p @ 120 FPS Wide angle Pro-tune, 1080p @ 60 FPS Medium Angle Pro-tune, and 2.7K @ 30 FPS Pro-tune for the Go-Pro 3.

Can you tell which clips are what resolution and frame rates for the GoPro? Hint, several of the clips having very bad aliasing in the fence in the background. That is eliminated by using a narrower field of view.

There is also a sample image below of what the GP3 looks like on the GH2 + 35-100mm.