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.

Anyway, my curiosity is that seeing it I suspect it was with a GH, although they could use some Sony or a JVC camcorder M4/3, and even Samsung, but I lean more to the possibility of a GH.

The cinematography is from Mark Schwartzbard, first first assistant camera of 'Borat', camera operator of 'Brüno' and additional camera operator of 'Up in the Air', 'The Departed', 'Little Children'.

Including 2011 and 2012 data

I've started two new youtube channels. Feel free to stop on by and maybe subscribe.

The first is my vlog. For starters I consider big name vloggers like jesse wellens, jon Olsson and will soon have a huge new casey neistat primer and study. I am the grumpy old man of youtube- some quite funny.

https://www.youtube.com/channel/UCrTwJLfvnpBa2cdy1f0UKgg

The second is camera gear reviews- I've moved from vimeo where I had 100k views. https://www.youtube.com/channel/UCDxx6qnqk7s6x0_icNE40gg

Newsshooter report:http://www.newsshooter.com/2015/10/23/filmpower-roxor-a-4k-integrated-brushless-gimbal-camera-for-199/?utm_source=twitterfeed&utm_medium=twitter

Available at https://www.amazon.com/360fly-360-Degree-Camera-Black/dp/B01G95INDK/

360fly Announces Availability of New 360fly 4K Camera

Immersive 4K Video Camera Featuring Live Mobile Streaming Now

360fly, Inc. has announced the launch of its new 360fly 4K camera. Unveiled at the Consumer Electronics Show in Las Vegas earlier this year, the 360fly 4K camera boasts a higher resolution than its predecessor, intuitive filming and editing advancements and live mobile streaming capabilities via LIVIT mobile app.

360fly 4K adds a powerful new image sensor that quadruples the resolution of the first generation 360fly camera, producing 2880x2880, 360-degree 4K video. Additionally, the 360fly4K camera will offer the following upgraded and advanced features:

LIVIT Live Streaming: In partnership with LIVIT, 360fly allows users to live stream their 360 content across the LIVIT mobile app – so your friends and family can see all the action in real time. No editing or uploading required.

• Front-Facing Mode: Not all situations require a 360-degree field of view. During those times, the 360fly 4K camera will allow users to record in a 16:9 aspect ratio at 2560x1440 resolution with a field of view of 178x100 degrees (204 diagonal).
• Time-Lapse Video Mode: Tell a story in a dramatic fashion by capturing a 360-degreetime-lapse video. Users can select .5, 1, 2, 5, 10, 30 or 60-second shutter intervals.
• Motion and Audio Detection Mode: The 360fly 4K camera will automatically begin to record videos and photos based off any movement or sounds. This feature is great in surveillance or monitoring situations.
• Accelerometer Activated Record Mode: Not all environments are smartphone friendly, and in those situations 360fly 4K camera users can activate record mode upon a significant accelerometer triggered event. For example, when users at the top of a ski slop start their run down the mountain, the camera will detect the acceleration and automatically begin to record.
• Telemetry: The 360fly 4K camera features a built-in GPS sensor to tag locations, an altimeter and accelerometer – all powered by an advanced Qualcomm Snapdragon processor. Users can track altitude, speed and use third-party applications to overlay the data into their existing 360-degree video content.
• Expanded Internal Memory: The 360fly 4K camera boasts 64G of internal memory.

With increased storage, there’s no need to pause your adventures to off load video.

OnePush Button Color-Coding: For clearer visibility and mode recognition, the 360fly 4Kcamera features an enhanced design with additional color-coded lighting around the OnePush button and bottom of the mounting dock.

The 360fly 4K camera offers two options for live streaming – a mobile option via LIVIT and a web cam mode for Facetime, Skype and other applications. For this, 360fly 4K pairs with its USB 2.0 charging base and is able to output a real-time full 360-degree HD video stream – providing a truly differentiated live viewing experience. The 360fly 4K camera is waterproof down to 30 feet and has a battery life of up to an hour and a half. Like the original, the 360fly 4K camera comes standard with Bluetooth, built-in Wi-Fi, and is compatible with a free Android and iOS mobile app that allows users to share content to popular social platforms like Facebook, YouTube and more.

http://www.gudsen.com/moza-lite.html

It weighs at only 2.2kg that lightweight enough for handheld operation, yet strong enough to carry any mirrorless cameras and common DSLRs as well as small cinema camera such as the Red Epic series with max payload of 11.0lbs. It takes powerful motors with digital positioning encoders on each axis to provide precision control and achieve smooth footage by using advanced algorithms. The operator can access to remote control of the camera and gimbal via the wireless thumb controller. It is powered by the intelligent battery with 2800mAh capacity and Tesla cells that can last up to 8 hours.

Gudsen team just published the full tutorial video on Youtube for the MOZA Lite 2. It shows how to use the gimbal, including setup, balance, wireless thumb controller and MOZA Assistant operation.

See tutorial at http://www.highballblog.com/2013/05/diy-cable-cam.html

Turned the standard notion of 50-year Steadicam’s structure, 5-axis spring arm is Nebula’s original design, inspired by the damping system of F1 racing cars.

The effect of double spring arm in contraposition is both rebound and absorbing. But the mass of stabilizer and camera appropriately maintains inertial. Except the intentional tremor, the two spring arms can absorb any vibrations and bounces under payload acting on the vertical axis. With this kind of buffer, reduces vibration, retards speed, makes shooting more smooth even facing hard bumps.

They are just like the vehicle suspension system, on the one hand isolates road noise, bumps, and vibrations, on the other hand provides enough sustenance for stabilizing car body while making a turn. Besides vertical axis, with different spring tension, the two spring arms are also able to filter part of the vibrations on horizontal axis.

Two dovetails are added on spring arm, to show the flexibility of combinations. The standard 1/4 screw hole also makes it easy to carry most of the photography accessories. Every detail we designed is for filmmakers in search of 2 “P”s: professional and possibilities. Double spring arm in contraposition turns the standard notion of spring arms in line, in order to spread bounces caused by photographers’ step while moving over two handles. Thus perfectly reduces the jitter and jerking and improves users’ manipulation of stabilizers.

Your recommendation might just be for a great film that you think others would appreciate in which case a short description of the film followed by a subjective score would be helpful to others (eg. enjoyment 8.5/10)

You may feel that the film helped you in specific ways, or you feel compelled to break down your own opinion into other categories that you feel are significant (eg. cinematography/editing/story/innovation/technical expertise/humor/ use of CGI/etc...)

Whilst developing a list of helpful resources for all members to use for their own benefits, there are obviously going to be differences of opinion expressed. Rather than trying to undermine somebody elses subjective score on a particular resource it would benifit everyone if you just add your own opinion next to your own entry, this will allow others to develop an understanding of everyone's "Personal-View". Leading to opinions that we will value based on who's subjective opinion we value, rather than the thread ending up as a flame war on this very subjective subject.

Thank you :)

How is your experience?

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.

• 4K
• global shutter
• high frame rates
• High dynamic Range
• Prores 4444 proxy recording
• $9000

Available at:

• Black - http://www.amazon.com/Panasonic-DMC-GM5KK-Compact-System-Camera/dp/B00NHZUFXC/
• Red - http://www.adorama.com/IPCDMCGM5R.html

This is a place to detail out exactly what you would like your ideal camera to do, be it your next camera, or the camera you want to have in your dreams, the one that would help you tell your stories the way you envision them... Go on, be creative!

Thanks

Anyone tried with gh4 and ronin-m?

The Pocket is only $500 USD / £390 UKP this summer (very limited availability, buy now!) .

Frame Sync is the big problem:

Syncing two cams for 3D cannot be done in post - they need to be synced at the pixel level, ie. each camera should begin each frame at exactly the same time. In other words, this is a fractional-frame problem; but you can only correct whole frames in post (not counting pixel interpolators like Twixtor which can cause unacceptable artifacts in 3D).

Pro cameras are synced with 'Genlock' - basically a connection between the two cameras that tightly synchronises frame capture. Without this, the cameras have a random gap between frame starts, anywhere up to 1/2 frame. So if you shoot 24p, the cameras will be randomly out up to 1/48th of a second, and you have no way to predict what that error will be at any given time. In 3D this is catastrophic, at least if there is any significant motion in the frame. The delay pushes moving objects forwards or backwards in 3D, and can also cause a weird shimmering effect. And forget high motion which looks awful.

Solutions:

1) hardware mod: do true genlocking by linking the cameras' capture timers or master clocks somehow at the circuit board level). This is perfect, but tricky/risky and requires skill and experience.

2) Simul-power workaround (this is what we use on the Panny GHs, and works on many others): you power-up both cameras at exactly the same time (usually with external power and a dual-switch or a custom circuit). Many cameras synchronize their frame capture from a global running clock, which is initialised at boot and never changes. So it doesn't actually matter when you trigger record - the first frame capture is always locked to that clock (ie. it waits for the next frame 'slot' before starting recording). By simul-powering the bodies, those clocks start in sync on both bodies and frames are synced.

we don't know if this works on the Pocket yet.

Downside: as no two digital clocks run at exactly the same speed, the bodies slowly drift out of sync. How fast depends on how closely matched the bodies are - people usually try to get consecutive serial nos., hoping that the eletronics components are likely from the same batch and so a close match. My badly matched (2 month apart) GH2's are good for about 4-5 mins before the drift becomes bad. Apparently some drift far less. So you have to keep power-cycling.

Problem: The Pocket only powers up when a button is pressed ('soft' power). It needs to power instantly as soon as external juice is on (one idea, permanently tape the power button down - does it work?).

3) LANC. The Pocket apparently responds to the LANC 'record' command (but not power cmds). If we're really lucky and this resets the frame capture timers (unlikely), it might be enough.

4) Firmware:

If the capture timers are NOT reset by capture start, BMD could add this to a firmware update. Then LANC-initiated record would always start in sync (subject to gradual drift) - much nicer than having to power-cycle all the time. This might be super-easy for BMD to do.

Of course some kind of true hardware sync option (maybe via the USB or LANC ports) would be best! BMD could probably do it if they wanted to - contact them if you want this: http://www.blackmagicdesign.com/uk/support (without demand it's unlikely to happen):

Exposure / Zoom sync:

Frame sync is the most important, but it would also be much nicer if exposure (iris, ISO, shutter-speed), focus etc settings could also be synchronised, ideally in real-time (one body acts as master, one as slave). Firmware or LANC command additions could do this.

With the pocket's small size, ultra-light and compact SBS (side-by-side) 3D rigs are possible. With 'body stacking', you can even get the lenses as close as around 70mm! With Speedboosters and fast lenses you can do lowlight and shoot wide (my target), and you have 10bit ProRes and 12bit RAW. Let's make it happen!

Operators can attach different accessories required to make video production to the cage with a variety of accessory mounting threads.

Check it out here to know more about MOZA camera cage

RICOH KR-10 + RICOH XR RIKENON 1:2 f=50mm L

or minolta X-300s Minolta 3.5 28mm

When it comes to X-300s Minolta I also have a possibility to choose one of those lenses: MD ROKKOR 45/2 or MD Tokina 28/2,8.

Which one would you recommend? I am just starting my adventure with the analog photography and I need a good and easy gear I can get to know really well and appreciate extensively during (especially ) this year and the years to come.

Thank you for your thoughts and opinions !!!!