I am looking to buy a film slr but want to use cool old vintage lenses like m42 screw mount, minolta, contax etc (I already have some) and therefore look for a camera that allows lens adapting. Which mount respectively camera would you go with? SLR's I am interested in (price not bigger than 250€ preferably lower): Nikon F3 Canon F1 Olympus OM 4 Minolta XK (you can also recommend others)

I wonder if (until we find a vaccine for COVID-19, or it naturally burns out) in the near future we'll see a shift back to more single camera shooting instead? 

Could mean more shooting days, but there could be a strong desire to shoot with the smallest minimal crews possible. As the bigger the crews, the bigger the risk someone comes down with COVID-19, causing the entire production to be shutdown!

With one exception, I can see the sound department needing to add an extra boom op than they'd usually budget for. Because lav-ing a person is quite intimate, I can see for the next few weeks/months that lavs will be avoided. Thus it becomes even more essential than usual to make sure you get the best possible coverage with the boom. 

Wonder too what will happen to the generous film incentives these scripted productions get from states/countries? When their state budgets are already under massive stresses from increased costs and a reduced tax intake, they'll be looking to cut "costs" (although I'd argue it is not a cost, but merely a tax rebate? Tax money the state would have never got otherwise, if the production wasn't shot there).

These tax rebates / film incentives will be especially vulnerable to attack if they were implemented under the basis of being "marketing for the region" to help promote tourism. Was where is the tourism now?? Dead. There is very little tourism to promote, and many regions would not want to promote tourists coming! As they want to lock out everyone who is "non-essential".

Moving on from the scripted narrative world, to the corporate world of videography and also event shooting. Am expecting a rise in live streaming. Soon nearly everyone will need to offer, just like the shift from SD to HD, everyone had to offer HD. (and we're almost at that point with 4K now)

Who charges extra for 4K these days? Most don't, or only a small token extra amount. 

So will be the case with live streaming I think, you'll either throw it in to get the job or just a modest upsell extra cost. 

And because an ATEM Mini Pro costs only US$599 you can easily eat that cost, as if it only gets you a couple of extra jobs that you wouldn't have otherwise, then it is worth it!

More info about the making of the film here: https://www.dominicjacksonfilms.com/polar

It is a drama comedy about substance abuse, mental health and not fitting in. If you enjoy it please share the link and please leave a review on IMDB and AMAZON we really need it as we hardly have any!

Thanks so much for your time if your get to watch it I hope you like it, it is available at higher resolution and without the stamp in the corner for a low cost, the money will be used to keep the film production moving forward and possibly making another feature!

It is on Reelhouse.org and Amazon UK and USA.

Thank so much hope you enjoy and please subscribe to us on youtube I will be making more videos about the making of Polar and other similar stuff.

Regards, Dom.

https://www.cinema5d.com/tribute-jeanpierre-beauviala-founder-aaton-digital/

Still shooting with the Sony FS700 and editing with Final Cut Pro X now. Colour grading in program isn't as smooth compared to Magic Bullet Looks.

Does anyone use Final Cut Pro X and have particular colour grading workflows?

Any critique / comments are welcome. All the best!

So yeah, I can't promise it will be illegal in your country (as it might be legal like it is for me in NZ), but hey, throw caution to the wind and get yourself one anyway! 

Filmmakers from across the world are challenged to write, shoot and edit a film no longer than 5 minutes in length in just 60 hours. The challenge is free to enter and teams can register online (www.60hourfilmchallenge.com) until the 31st August.

The challenge begins on Friday 1st September at 9pm (UK Time). Teams will receive an e-mail containing a title, line of dialogue and prop/action they must include in their films. Each team has to make their films over the weekend (1st-4th September) and upload their final films to our Vimeo group no later than Monday 4th 9am (UK Time). The shortlisted films will be screened and the winners announced at Colchester Film Festival on Saturday 4th November.

The challenge will be judged by our expert panel, directors Olly Blackburn (Donkey Punch), Tom Geens (Couple in a Hole), The Blaine Brothers (Nina Forever) and producer Jennifer Handorf (Prevenge).

Entering the challenge is a great way to get noticed, films from the challenge have gone on to feature at festivals around the world. Rob McLellan’s 2012 entry ‘Love and All That’ went onto inspire MGM’s feature film ‘Abe’, which is currently in pre-production.

Winning teams will receive over £10,000 worth of prizes which have kindly been donated from: Adobe, AKM Music, Beachtek, BlueStarProducts, Boris FX, Boxx TV Ltd, Cartoni, Cinedeck, Contour Design, Daz 3D, EditShare, FilmConvert, Filmstro, FXGuide, IndieFlix, Lenspen, Logickeyboard, Loopmasters, MindShift Gear, Musicbed, Peli, PowerProduction Software, ProMediaGear, RØDE Microphones, Snapperstuff, Spiffy Gear, Stan Winston School of Character Arts, Toon Boom Animation, Vid-Atlantic and Vocas Systems.

60hrFilm

Website: http://www.60hourfilmchallenge.com
Facebook Group: www.facebook.com/groups/60hrFilm
Facebook : @colchesterfilmfestival
Twitter: @ColFilmFestival
Instagram: @colfilmfest

Remakes can be included, but that's just the easy way in... maybe if they're remakes (you think) are better than it's progenitalia...

BIG SPOILERS!!!

Ok, so Christopher Priest wrote The Prestige in 1995. Much before Nolan's adaptation to screen, 2006, in Eduardo Mignogna's film La Fuga (Argentinian-spanish co-production) from 2001 you can see the doubles trick (same Christian Bale used later ) used in a very intelligent way by the poker player crak Víctor Gans. La fuga is based in director's novel with same name from 1999. Did Eduardo Mignogna knew Priest's book??? Eduardo Mignogna never got to see The prestige as he died that same year

What you got? =)

As a DoP I see 4K as falling solidly into the "nice to have" camp, but also being very non-essential (at least for now, this will change with time). So I really don't mind hugely either way, to have 4K or not. There is other more important considerations to take care of first.

But maybe there is an extra point to 4K that I'm missing when viewing it solely through my DoP eyes.... and that is marketing!

Might it make it easier for the producer/director to sell afterwards if it is a "shot in 4K" film? I thought I read somewhere that there are content providers (for instance Amazon who announced they'll be filming all their created content in 4K) who have a lack of 4K content and thus could pick up indie 4K films simply as "4K fillers"? It is after all very common to read consumer articles about the lack of 4K content out there.

Not to be confused with a ‘Stylized Look LUT’ – I created the BozBMDFilm_to_Rec709 Utility LUT out of a need to make my own color grading life easier when dealing with the Blackmagic BMCC / BMPCC Cinema Camera Film LOG and RAW files. And now I'm making it available to you.

Download Page: https://bulentozdemirfilms.wordpress.com/downloads/bmcc-bmpcc-bozbmdfilm-to-rec709-lut/

The LUT brings out the contrast and color values captured by the BMCC / BMPCC in Film or RAW mode and strives to preserve highlight and shadow detail [more examples can be found on the download page]

Though it's not free, I think the small asking price of £3.00GBP (approx $3.80USD) is enough to take a leap of faith on. Made a difference to my work flow as I’m sure it will with yours :)

Download Page: https://bulentozdemirfilms.wordpress.com/downloads/bmcc-bmpcc-bozbmdfilm-to-rec709-lut/

Thank you.

We just finished a commercial film production and thought I share some insights on why we have chosen to shoot this with the GH4. Our key requirements have been

1. 10Bit 4k capability (greenscreen project!)
2. Light weight (we had challeging camera angles and limited budget for rigging => e.g. birdeye shots with shitty rig)
3. Long battery life (we didn't want to add external battery solutions => our rig had very low weight limitations)
4. Problem free (e.g. no overheating)

So after long discussions choosing between Sony A7s II and GH4, we decided to use the latter one and I don't regret this decision.

We had a lot of challenges but they have not been regarding camera choice, more related to the customers corporate colors (yellow turning green in shadows) and lighting the massive greenscreen. The only real challenge on the GH4 for us was the shitty HDMI port but we solved that with adding a Zacuto Port Protector (without that, it would have been a nightmare!).

But judge for yourself, feedback welcome! (note: the project required massive effort in post production)

your opinion?

"People mistakenly call it a color space," Griffis said. "It's actually a two-dimensional plane and what you really need to know if you're a creative is this is your palette of colors but what the horseshoe chart doesn't tell you is how bright each color can get. White will always be the brightest because it's the sum of all three primary colors."

"So we've got this interesting problem that we've lived with for the better part of 60 years where the colors in film go out farther but you can't get as bright and in television there are less colors but you can get brighter," Griffis told Gizmodo. "And the practical consequence of that for the content creator is that the Red Bus of London that looked so great in the movie looks like Campbell's Tomato Soup on the Blu-ray unless someone does something."

http://gizmodo.com/how-dolby-vision-works-and-how-it-could-revolutionize-1594894563

So Dolby (who makes the most amazing video monitors) finally did something. And When it hits TVs and Computer monitors... all this REC 709 bullshit can finally fuck off.

I am so damn happy... you don't even know.

Help appreciated and sorry if this has already been answered here, haven't had the time to browse.

Cheers Chris

If you're interested, you can have a look at my work on gear video reviews here: YouTube: https://www.youtube.com/playlist?list=PLxnu1WwoCPfdwE2lQvNCNSJ3WvuW6fArX

Vimeo: https://vimeo.com/album/3828347

You can browse my profiles, I've also uploaded some short films that I made in the last years. Most of them (up to 2012) were made for a contest hosted on the now dead, hv20.com forum. I've done two short films for a contest on a facebook page, the first I shot never made it on time, but I finished it a couple months later. The last, a short film I won the first place, gave me a Kovacam Stabilizer as a prize. Not bad! I purchased the vest and arms to complete the kit, and eventually made my first video review!

Thanks for your time!

http://www.internationalmovietrailerfestival.com/all-trailers/middleman/

Please let me know, if there's any questions. Thank You

Simply I wanted to thank the people who developed the hack and the patches and say to the world how much I like this camera, it's unique, go grab one and feel his vibe.

Greetings.

Shot on the Sony F65 with Cinealta 4k lenses, with Tiffen Digital Diffusion 1/4 filter. The camera is heavy so we used an easy-rig for everything but the subway stuff. In terms of content, this is an idea that was in my head a lot. It's based on walking home from a job one night, thinking a lot about these things. Especially after a post I did and the feedback on it, about Bernie. Calling him a populist and all that. It was interesting, because I chose Bernie but didn't research him when I chose him months ago, even though this is the guy who may be president. And my anger towards Hillary was after reading just one article in Harpers. Interesting how much power we the uniformed are given. Better than some dictatorship, we must not take the ability to vote for granted. Just wish the media educated us better on their past, their records. There I go again! We shot Sony SR Raw -compressed mode which is like shooting red at 5:1 compression. Very simple to load the clips in with the new sony reader. Goes right into resolve, then mostly played with the Sony raw tab, and used a color chart to naturalize the skin tones and went from there. Very easy workflow. Before this card reader, it was really annonying as hell. You had to go through ethernet and load clips from a web browser. Probably is what sunk this camera. But the flip side is that it's what allowed me to afford one :) Incredible low-light camera. Pushed it a lot one stop to 1000 ASA and it looks completely clean. The digital gain looks like film noise. Amazing skin tones. The camera has a lot of meat in the image, a lot of resolution which is nice - gets it a very smooth, natural look. I was I very impressed with the quality of skintones at 3200k. Can't wait to use this guy on many more projects. Just have to figure out how to get it on a movi :)

Will this scale to larger sensor sizes? Will it allow a higher Iso?

I'm looking forward to seeing some ungraded shots.

Source: http://www.dpreview.com/articles/1365289912/invisage-brings-long-promised-quantum-film-smartphone-sensor-to-market

GH2 when properly exposed handles like a champ.

2 GH2 cameras

Rokinon cine lenses:

• 14mm T3.1,
• 25mm T1.5,
• 35mm T1.5,
• 85mm T1.5

Shutter speed 40 "magic trick on cadence"

Profile: smooth -2,-2,-0,-2

The trick here is to underexpose the camera and use proper ND filters. New patches allow to handle good recovery on gamma curves. I think the cadence also improves when shutter is at 40.

Im no pro color corrector, so some shots are not well balanced.

I did the Direction and cinematography

I'd love to hear your thoughts! Please give it a like via vimeo if you err... like it!

I recommend listening with headphones!!!