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.

In advance of this year’s Tribeca Film Festival, Indiewire sent out brief questionnaires to all of the filmmakers (you can read their full answers in our Meet the 2015 Tribeca Filmmakers Series). As part of the questionnaire, we asked which camera(s) they shot on.

Their responses showed a wide variety of camera used – everything from drones to cellphones to the Swedish Ikonoskop, which is a digital camera meant to emulate the 16mm film look.

The most popular choices across the board were the ARRI ALEXA and RED Epic, as well as various models of Canon and Sony cameras. Almost all of the filmmakers produced their films digitally – the only films that specified having shot on film were "Franny," "Transfatty" and "Tumbledown."

We’ve arranged this master list alphabetically by camera – please note that some films used multiple cameras, so you’ll see a few repeats as you browse.

16mm (unspecified) "Transfatty"

35mm (unspecified) "Transfatty"

ARRI ALEXA "Anesthesia" "Ashby" "Backtrack" "Bad Hurt" "Bare" "Bleeding Heart" "Dixieland" "Down in the Valley" "Jackrabbit" "Maggie" "Meadowland" "Men Go To Battle" "Palio" "Slow Learners" "Stung" "The Survivalist" "Tumbledown" "The Driftless Area"

ARRI Amira "Down in the Valley"

ARRI III 35mm "Tumbledown"

Blackmagic "CODE: Debugging the Gender Gap" "Havana Motor Club" "Jackrabbit" "Maggie" "The Survivalist"

Canon 5D "Among The Believers" "As I AM: The Life and Times of DJ AM" "Crocodile Gennadiy" "Havana Motor Club" "Roseanne for President" "The Diplomat"

Canon 5D Mark II "Requiem for an American Dream"

Canon 5D Mark III "Autism In Love" "Down in the Valley" "dream/killer" "Shut Up and Drive" "Viaje"

Canon 60D "Play It Forward"

Canon 7D "Havana Motor Club" "In My Father’s House" "Orion: The Man Who Would Be King" "Play It Forward"

Canon C100 "Orion: The Man Who Would Be King" "Play It Forward" "Prescription Thugs"

Canon C300 "A Nazi Legacy: What Our Fathers Did" "Applesauce" "Autism In Love" "Crocodile Gennadiy" "Down in the Valley" "In My Father’s House" "In Transit" "Orion: The Man Who Would Be King" "Palio" "Peggy Guggenheim: Art Addict" "Requiem for the American Dream" "Song of Lahore" "The Armor of Light" "The Diplomat"

Canon DSLR "A Faster Horse"

Cell Phone (unspecified) "As I AM: The Life and Times of DJ AM"

Drone (unspecified) "Orion: The Man Who Would Be King"

EyeDirect "Requiem for an American Dream"

Gimp-Cam "Transfatty"

GoPro "A Faster Horse" "Havana Motor Club" "Palio"

Hi8 "As I AM: The Life and Times of DJ AM" "Jackrabbit" "Transfatty"

Hi-Def "Transfatty"

Ikonoskop "Come Down Molly"

Kodak PlayTouch "Roseanne for President"

Panasonic HVX "Tom Swift and His Electric Rifle"

Panasonic DVX-100 "Among The Believers"

Panasonic HVX-200 "Roseanne for President"

Panasonic VariCam "Song of Lahore"

Panavision 35mm "Franny"

RED Dragon "A Faster Horse" "Down in the Valley"

RED Epic "As I AM: The Life and Times of DJ AM" "CODE: Debugging the Gender Gap" "Crocodile Gennadiy" "King Jack" "Maggie" "Peggu Guggenheim: Art Addict" "Stung" "The Adderall Diaries"

Sony A7 "CODE: Debugging the Gender Gap"

Sony EX1 "A Courtship" "Roseanne for President" "Thank You For Playing" "Tom Swift and His Electric Rifle"

Sony EX3 "Havana Motor Club" "Orion: The Man Who Would Be King" "Roseanne for President"

Sony F3 "Gored" "Song of Lahore" "Tenured" "The Birth of Saké"

Sony F5 "A Nazi Legacy: What Our Fathers Did" "The Birth of Saké"

Sony PDW 800 "A Nazi Legacy: What Our Fathers Did"

Sony PMW 200 "In Transit"

Super 8 "As I AM: the Life and Times of DJ AM"

Unspecified "The Wannabe" "Uncertain"

VHS "Jackrabbit"

Z1 (tape) "Orion: The Man Who Would Be King"

www..com/2015/04/here-are-the-cameras-used-by-the-2015-tribeca-filmmakers-62795/

I'm trying to figure out how to get a "dreamy" look for some shoots of my project. I want the image to be a bit softer (not extremly soft) and all highlights should have some halo/glow effect. The best professional filters I have found are the Tiffen Pro Mist (not Black Pro Mist), but they are expensive (and hardly sold used on ebay).

1. Does someone want to sell used Tiffen Pro Mist 1/2 or 1 filters (4x4 or 77/82mm)?

2. How about the stocking + clear filter trick? Can anybody with experience chime in please.

As I know exactly what I want in every shot, there is no point in doing it in post, as digital effects are not on the same level as real in camera effects.

Straight out of the box the following works;-

1 x IDX C-EBXLR Endura Individual Power System - One V-Mount Adapter Plate with 4-pin XLR Connector

1 x IDX CA-4XLR 4-pin XLR Male to 4-pin XLR Female Cable extension cable

1 x CUE 75 LI-ion Battery (XLR connector plus extra D Type adapter for powering other devices) or longer duration DUO 95 (which features extra two 'D Type' Power Outputs to power other devices plus a powered USB Out too!)

1 x IDX LI-ion Battery charger (for example the VLP PC1 single charger )

Lookout for a full report and video over the weekend regarding maximum recording times with fully charged batteries of the CUE 75 and DUO 95 packs.

This, folks, is a coming-of-age of our il' baby, the hacked GH2!

One way to put it is like this: we now have a benchmark; an aesthetic which we know works, at least with a particular kind of movie genre. Now, some of us might like to take a closer look at every aspect of how Upstream Color was lit, shot and post-produced - and slavishly replicate this in every way with another script. Sounds stupid and un-creative, but that's exactly how film completion insurers and financiers like it!

Some reviews:

The Guardian

The Sydney Morning Herald

And more to come - keep an eye on IMDB

As you all know, a lot of old DV footage and even GH2's footage (shot on Panasonic lenses) has some ringing/halos (mostly around edges) caused by over-sharpening.

In the Internet there's a lot of ways to fix it a little bit in photos, but I couldn't find a way to fix it in videos using After Effects, VirtualDub or any other software. I've tried a lot of methods to fix it with some blur and high pass filters in After Effects CS6 but none of them helped me a lot (or... I couldn't find a way to properly tune these filters).

I would appreciate your thoughts on this issue very much!

Thanks in advance.

On mac, when adding the AppleScript command lines

on run do shell script "open -n /Applications/VLC.app" end run

on open theFiles repeat with theFile in theFiles do shell script "open -na /Applications/VLC.app " & quote & (POSIX path of theFile) & quote end repeat end open

be sure that the path to VLC.app is the correct one ;-)
4 further comfort, place droplet in doc then just drop files
gashô

 
PC users may also want to have a look at open source Kinovea
If you do "test it" drop a line of feed, thanks

Some time ago I've been thinking that one day they will see cameras with dreamy benefits available to our pockets and BMC has taken the first big step.

After impact caused by Pocket Camera at NAB seems as if all DSLR cameras literally stay in the past, the film market and videographic intermediate, semi-pro and professional low budget now has a gear of very low cost, then I wonder how that argument would have for example someone who wants today to buy a 5D MKIII about U$3000 for videos and films when for a third of the cost you have a body that offers RAW with 13 EVF of DR. Who less would suffer possibly are cameras under US$1,000 where the user amateur looking a camera for photo and with video to record the dog pacing on the garden, the family eating BBQ, an afternoon at the beach or something without more pretense, but I dont know if that market segment is sufficient for these traditional manufacturers.

I assume that traditional manufacturers must have a headache because they did not expect this movement. Anybody what will buy a camera for video a film low cost will prefer a DSLR digital -regardless the record format- to a camera to record in RAW?

BMC's movement beneficent the market because it will be forced to Sony, Panasonic, Canon and Nikon to compete with similar or better gear features, that or leave the market for inematographers and filmakers low budget because they havent argument to compete equal now.

PS, sorry for my poor english.

Until recently, the field has been absolutely ruled by Canon and Nikon, companies who broke the ground for hybrid cameras and acquisition.

How can such old news become news? Simply because it's an example of how the GH2 series can slip into independent use right under the radar of Industry.

Thanks anyway to writer Michael Hamish, especially for the personal-view.com plug. But the industry still gets the wooden spoon.

http://www.tvtechnology.com/equipment/0082/panasonic-lumix-dmc-gh-camera/216881

I've heard of earlier GH2's made in Japan, but wanted to confirm and see where everyone's GH2's were made and when they bought it.

Thanks!

I tried several times with different exposures and lenses, same result. So then I did a clean reinstall of firmware 1.0, same problem, likewise with firmware 1.11 and finally back to 3.64 with one check box marked against AVCHD for increase bit rate to 44. I went carefully through the entire process twice with all the firmwares, uninstalling and reinstalling so cannot figure out what happened.

I note that both 24H and 24L in cinema mode came out the same - 10-11 mbps. (Should be respectively 24 and 17 according to the manual.) On the last try after the second reinstall I got 15 mbps on cinema 24H and 12 mbps on HBR mode. The camera is a week old, working fine, the footage looks OK, so is there something I am missing with the camera settings or interpretation of the data?

I noted in another post somewhere here (cannot find it now) that someone else had a similar problem but managed to retrieve the bitrate after reverting to firmware 1.0. I am not sure if they did that working with V1.0 and 3.64 or just reverted to the factory settings of V1.0.

What should I do? Thanks in advance.