Best 4K 60 fps Cinema Camera under $2,500? A Fun Comparison between the Blackmagic Design Pocket Camera 4K, Panasonic GH5 and GH5s, and the Z CAM E2

Best 4K 60 fps Cinema Camera under $2,500? A Fun Comparison between the Blackmagic Design Pocket Camera 4K, Panasonic GH5 and GH5s, and the Z CAM E2

VRNation.TV Hits The Web

VRNation.TV officially launched today offering a unique online community for virtual reality, augmented reality and mixed reality enthusiasts to share some of the coolest virtual experiences you can find on the web. Founded by 29-year veteran high-tech journalist Scott Lehane, who has written thousands of articles for dozens of publications around the world, the site […]

The post VRNation.TV Hits The Web appeared first on Below the Line.

Sony PXW-Z750- 4K shoulder-mounted camcorder with global shutter

Sony unveiled its new PXW-Z750 camera at BIRTV in Beijing. It is Sony’s first shoulder-mounted camcorder with a global shutter. The PXW-Z750 features a newly developed 3-chip 2/3-inch 4K CMOS imager optical module with a wide color gamut, vivid color reproduction, high sensitivity, and low noise. The Z750 can be fitted with a variety of … Continued

The post Sony PXW-Z750- 4K shoulder-mounted camcorder with global shutter appeared first on Newsshooter.

BMPCC 6K PL Mount Modification

The BMPCC 6K is only available in Canon EF mount. While this is suitable for a large proportion of buyers, there will be some professionals who would like to use PL glass on the camera. To cater to that need, Bezamod has launched a Kickstarter campaign to make this happen. The Bezamod PL Mount Modification … Continued

The post BMPCC 6K PL Mount Modification appeared first on Newsshooter.

5 Things You Need to Start Vlogging

Hardware is actually the least important part of the equation.

Filmmakers can add more value to their production content by starting a daily or weekly vlog. This video can give your audience not only a behind-the-scenes look at what you’re working on, but it also provides the opportunity to share your process. And that will help others, and if you’re lucky, you just may get some extra revenue in the process. But what do you need to start a vlog? Well, according to Matti Haapoja, there are five things you need to get started. And not one of them is hardware.

1. Have Basic Camera Knowledge

Vlogging is a visual medium, and as such, you have to have an understanding of basic composition, lighting, and sound. But since you’re a filmmaker reading this, you already know all that. And for a vlog, that basic camera knowledge is just as important. Even if you’re using a smartphone to start your vlog, always think about how you’re getting the shot, and how you can make it better. Also, when you have basic camera knowledge, you can focus on the story you want to tell, not the nuts and bolts.

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Nikon Wants to Give You $45,000 and a New Camera

So what’s the catch? You have to shoot your short on a Z-Series Camera.

Nikon really wants filmmakers to fall in love with their Z6 mirrorless camera. They’re including an F to Z mirrorless adapter for free. They’ve discounted the price by over $400, and now, they’re offering a cash prize of $25,000 and a Nikon Z6 to the winner of their “Follow Your Passion” short film competition.

But there is a catch … you have to shoot your film using a Z-Series camera. But even then, Nikon may have your back — because they really, really want you to fall in love with that camera!

Last week I filmed a short film using the amazing @Nikonusa Z 6 Filmmakers Kit. Nikon is having the “Follow Your Passion” video contest, which encourages content creators across the U.S. to capture something they love using a Nikon Z series mirrorless camera. Entrants can submit a short film for a chance to win up to $25,000 in prize money and a Nikon Z 6 Filmmaker’s Kit. – Armando Ferreira

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Sony Vs. Disney, Apple Vs. Red, The Office Vs. The Office

Titans clash on the pod this week.

George and Charles discuss Spider-Man’s corporate fate, why Apple and Red are fighting, and some major changes that fixed some of everyone’s favorite TV shows.

Like, subscribe, comment, share, tweet, and email us!

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What Noah Baumbach’s ‘Marriage Story’ Trailers Show You About POV

I’m always excited for new Noah Baumbach movies. But this one seems to thrive on both sides of the story.

Netflix has been making a grand impression with its original films. They have tackled almost every genre and frequently take interesting risks and team with auteur filmmakers. Their latest trailers for Noah Baumbach’s Marriage Story have audiences everywhere buzzing.

Instead of being a boring story about something falling apart, it looks to have the tenements of all our great love stories and tragedies with a twist. We’re going to get voiceover and narration from both points of view of the story.

This fun and interesting twist on the genre has people gabbing about it being a frontrunner for best screenplay without the movie even coming out yet. While “point of view” is not a new movie strategy, it does feel fresh here.

Frequently we want to blame someone for something falling apart. This movie seems to propose that it takes two to tango.

Check out the trailers and let’s talk after the jump!

Marriage Story: What I Love About Nicole

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Learn to Edit Video in 15 Minutes

Learn to Edit Video in 15 Minutes

If you want to get serious about video editing, I highly suggest learning to use Adobe Premiere, but if you want to edit a video as cheaply and as quickly as possible, this is the video for you. I’m going to teach you how to edit a video in 15 minutes.

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Why You Should Stop Writing Query Letters

Query letters were all the rage in Hollywood in the ’80s and ’90s. But not so much now.

I recently had a coffee with a young writer trying to break into the business. She told me she was spending a lot of time and money figuring out which managers and agents accepted query letters so she could let them know about her fantastic new screenplay.

Upon hearing this, I spit my coffee out and began a rant. Then I settled and now I am writing to you. I think these are complete wastes of time. The only thing you should be writing are screenplays. And even then, if you’re worried about getting an agent, you need to understand a query is the exact worst way to find one.

So let’s talk real quick about these letters, why they suck, and what you can do about it.

Query letters can be a waste of time

Look, I worked as an assistant for a producer and our policy was to throw away every query letter that came in. Legally, we never wanted to read the letters or open any email attachment because if we ever produced a movie even remotely close to the logline sent to us we might get sued.

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Nesting To The Rescue

In a previous post, I recounted a problem I ran into when I tried to match an offline sequence to a finish or online sequence. Basically, the camera originals were very long and had been trimmed because it wasn’t feasible to render out color-graded full-length clips. I tried to duplicate the edit using those trimmed clips.

When I compared the graded, speed-changed clip to the original speed-changed clip, they didn’t line up. Even when I was able to line up the first frame, throughout the clip there were frames that didn’t match. In my post, I mentioned that I solved the problem by nesting. This post describes the process.

The problem was caused by how edit software calculates which frames are displayed when there’s a speed change. While I don’t know the exact methodology, I believe that the calculation always starts with the first frame of the clip. All of the math proceeds from there.

For example, let’s take a hypothetical speed change that involves playing two frames, skipping one, playing one, dropping two, playing two, skipping one, playing two and then repeating. You could represent that sequence as 11010011011, where 1 represents a frame played and 0 represents one that’s skipped.

At first 11010011011 seems like an unreasonable sequence (or cadence). However, if you work with something shot at 48 fps or 60 fps that’s inserted into a 30p or 24p sequence and is sped up to fill a hole in the sequence – say 148 percent – you might see why the cadence could end up like that.

“So what?” you say? The problem is that the cadence always starts with the first frame of the clip. That means when the new color-graded (and trimmed) clip starts on a different first frame, chances are excellent that the frames displayed and skipped won’t match.

How about dragging the new clip around and getting it to match? No. It won’t match—unless you get lucky and the starting frame is a multiple of the cadence and matches up with the old clip. It won’t take Clint Eastwood to ask you about your luck, believe me.

A fix I found was to use nesting. Nesting allows you to group one or more clips (typically laid out vertically in a sequence) into a new sequence that then gets edited into the original sequence.

  • The first step is to take the original (long) clip that’s used in the original sequence and make that clip its own sequence. Make sure that the sequence uses the entire original clip from the first frame to the last.
  • Note that I don’t use the “nest” command on the clip in the timeline because it would create a nested sequence of just the part of the clip that’s displayed. Remember that the cadence starts with the first frame of the clip, not just what’s displayed.
  • In this new sequence, I create a second video track and place the trimmed clip into that track, matching the timecode. Since no speed change is applied, the clips will match throughout the duration of the trimmed clip.
  • Now I take that new sequence and lay it over the original clip in the original timeline. There are two ways to match the timing of the two clips.
  • Apply the speed change and then line up the timecode by dragging the clip, or
  • Remove the speed change from the original clip, line up the timecode and then apply the speed change to both the original clip and the new clip.

Either way, the new clip now matches the original one. Why? Because of the nesting, the cadence is dependent on the first frame of the nested sequence. And since the first frame of the nested sequence is the first frame of the original clip, the cadence is the same.

While nesting has a lot of different uses in an edit, it really was the only way to solve this problem.

The post Nesting To The Rescue appeared first on HD Video Pro.

“Is That a Little Too Much Like Scooby-Doo?” Radio Silence on Ready or Not

Opening with a wedding and concluding with some kind of funeral, the horror-comedy Ready or Not is a welcomed late summer season addition. Grace (Samara Weaving) and Alex (Mark O’Brien) are married at the Le Domas family mansion. After the ceremony, the family announces that, as is tradition, they will promptly play a children’s game with (or more accurately, against) the bride, as she is the newest member of the Le Domas family and thus must pass a test. The game is Hide and Seek, and if Grace can make it to morning, she lives. If the Le Domas family […]

100,000+ Subscribers! YouTube Silver Creator Award Unboxing

The cinema5D team is extremely honoured to receive the YouTube Creator Award for passing the 100,000 subscriber milestone. Thank you all for the support over the years!

It’s been a wild ride – cinema5D has existed for exactly 11 years now, and oh boy, how the times have changed and how filmmaking technology has advanced within little more over a decade! We have always been at the forefront of this revolution since the early DSLR days (hence the “5D” from the original game-changing Canon 5D Mark II which democratised large-sensor filmmaking).

We started as a forum for DSLR filmmakers with a news section about the related technology news, and then we started reviewing new cameras and accessories for those cameras to make them feasible for pro video creation. Later we ditched the forum and focused on unbiased reviews and news, and put a big emphasis on creating as many video reviews as possible, and covering all the major film tech shows in the world with our video content – long before anyone else thought about doing that. What followed was a surge in visitors and a very large loyal audience that visits us often on a daily basis. cinema5D quickly became one of the most trusted sources for such content on the internet, averaging much more 1 million page hits per month.

cinema5D owners Johnnie Behiri and Nino Leitner accepting the YouTube Creator Award for surpassing 100,000 subscribers.

For a long time, we focused on putting our reviews on Vimeo – a site that started as the “better alternative” to YouTube, which in its early days was mainly known for cat videos and home videos. Vimeo, on the other hand, put great quality first and proved to be the better alternative for filmmakers for a long time. Unfortunately we found that they totally lost their ground to YouTube in recent years – focusing only on paid memberships and neglecting the filmmaking crowd that made it successful, Vimeo completely lost relevance for us and many people around the world. On the other hand, YouTube rose to unprecedented heights – it became the place for everything including high-quality video tutorials, reviews, news, and so on.

Over two years ago, we decided to stop uploading to Vimeo and completely focus on YouTube. We should have made this move much earlier, because the success that followed proved us right. YouTube offers a way for Creators to make some money with their creations, but their real key to success is their amazing recommendation system which happens to automatically get a lot of eyeballs on your video if it’s actually any good … something which Vimeo never managed to do. In fact, many of our most successful videos get most of their views on YouTube itself through their Explore page, rather than through cinema5D.com.

We are only getting started on YouTube and there are great things around the corner – make sure you are subscribed to our channel to receive unbiased reviews and news about the latest and greatest in filmmaking technology.

Do you like our YouTube content? What would you like to see more of? Let us know in the comments below!

The post 100,000+ Subscribers! YouTube Silver Creator Award Unboxing appeared first on cinema5D.

Anamorphic Shooting – Is There an Ideal Sensor Size?

In this guest post, Vancouver-based freelance filmmaker and an anamorphic lens freak Tito Ferradans is sharing his thoughts about anamorphic shooting and the ideal sensor size with us. 

The BMPCC 6K pushed anamorphic modes into Blackmagic’s cheaper models – such modes were previously reserved for the URSA lineup. Anticipating an increase in questions on this subject, I wrote this post.

There are lots of misconceptions about sensor size and anamorphic shooting. I believe this started with the Panasonic GH4, but let me first explain the issue. Every other day I get messages from people “informing” me they can’t use 2x lenses because their camera does not have an anamorphic mode.

They say they’re limited to 1.33x or 1.5x lenses and they don’t know what to choose. Some are even more hardcore and ask for camera recommendations. The Sony a7S II does not have an anamorphic mode, yet, I’ve been shooting anamorphic on it for three years now and it never gave me trouble. I recently got a Panasonic GH5 which features an anamorphic mode.

What is Anamorphic Mode, and why is it Good to Have it?

Anamorphic lenses squeeze more field of view onto the sensor. There’s a lot more to them, but this is the aspect we’re dealing with now. Let’s say the ideal anamorphic lens has a 2x squeeze, which means that you have to double the width of your footage in post production for your shot to look correct.

Simple math time: shooting 16:9 (and then doubling the width of the frame) yields a bit of an extreme aspect ratio: 3.56:1, so far reserved for lens tests and Taylor Swift music videos.

Cameras with anamorphic modes allow you to record different areas of the sensor, not necessarily 16:9. The GH4 allows 4:3 aspect ratio, the BMPCC 6K offers 6:5. Using a 2x scope, 4:3 becomes 2.66:1 and 6:5 becomes 2.4:1, classic CinemaScope. These modes are not using the full width of the sensor though. Basically, the camera is cropping out the sides of the footage for you. Is that what anamorphic mode represents?

The exception here is the GH5 and its Open Gate mode. Since Panasonic’s GH series has a 4:3 sensor, their techs figured “why not let people record the entire sensor area?”. This leads us to the actual advantages of anamorphic modes.

What are the Advantages of Anamorphic Mode?

The minor advantages of an anamorphic mode are that it makes more efficient use of the available sensor area and thereby requires substantially less or no crop in post-production. It also allows for better use of the camera’s bitrate over the final image area.

The biggest advantage of a proper anamorphic mode though is that it uses a larger sensor height compared to 16:9 video. If you look at the numbers and schematics below, the difference is easy to see on the GH5 and other cameras that record Open Gate (thanks Arri). This gives you a frame that is not only wider after stretching, but also taller!

But if you look at the BMPCC 6K, Ursa Mini 4.6K and others, things are a little different…

Not only you are missing additional height offered in 16:9 modes, you are also locking yourself out of the valuable possibility of reframing in post-production.

So There are the Advantages of not Having/Using it?

If your camera has an anamorphic mode but it doesn’t add any height to the output compared to your other recording modes you are basically discarding information that could be useful later.

That is why I never complained of shooting 2x anamorphic with the Sony a7S II. I set it up with 4:3 crop marks and record 16:9 all the way. The only thing that really matters is that I get clean footage in the marked 4:3 area. Anything usable beyond those marks is a bonus and it allows me to reframe in the editing process to balance out compositions or even create camera moves that didn’t exist before.

Sony a7S II + Atlas Orion 40mm T2 2x Anamorphic Lens. See how the 2.4:1 area is clear?

Bottom line: Always aim for the mode that gives you the most vertical resolution and better use of the sensor, even if you have to crop some of the frame later. You’ll have more data, more sensor area and more image to work with. If you’re on a tight deadline, sure, skip the crop and do it all in camera.

Regardless, if you are lost or new on how to deal with those post-production aspects, I have videos up on how to set proper aspect ratios in all major editing software and how to crop footage easily too!

Now, it looks as if to maximize your scope’s capabilities you will need to get the Panasonic GH5. 

An Afterthought in “Anamorfaking”

If you don’t have anamorphic lenses and you still want to craft the anamorphic look, the BMPCC 6K also offers a 2.40:1 recording mode that will give you a frame that is perfect CinemaScope although shot with spherical lenses. No need to hassle with cropping later. You can combine this aspect ratio with modified lenses and filters to create a look that would otherwise cost a fortune! More on anamorfaking soon in an upcoming post here on cinema5D.

If you don’t have a brand new BMPCC 6K, most other cameras offer some type of crop marks or overlays that allow you to frame for 2.40:1 or 2.35:1 while still shooting 16:9. Framing with crop marks will give you an accurate idea of your final framing and save you from unexpected cropping issues such as too much headroom or chopped heads!

Is filming with anamorphic lenses or adapters interesting for you? Would you like to craft your anamorphic filming skills by reading more related content on our site? Let us know in the comment section below. 

The post Anamorphic Shooting – Is There an Ideal Sensor Size? appeared first on cinema5D.

Report: Nikon is only producing 1,000 units of its 500mm F5.6 lens each month

Since its release in August 2018, the Nikon AF-S Nikkor 500mm F5.6 PF ED VR lens has been perpetually out of stock. In past apologies, Nikon has said demand for the 500mm F5.6 lens has exceeded supply, but now we know just how limited supply is.

Almost immediately after launching the 500mm F5.6 PF lens, Nikon Japan issued an apology [Japanese], stating it wouldn’t be able to deliver all 500mm F5.6 pre-orders in September, as it had hoped to do. Six months later, it issued another apology, stating orders had exceeded expectations and they were working to deliver units as soon as possible.

Screenshot used with permission from Nikon Rumors.

Now, Nikon Rumors has shared a screenshot of the German Nikon Professional Service website noting only 1,000 units are able to be produced each month. The text in the screenshot, seen above, translates (via DeepL) to:

‘Delivery currently uncertain, since only about 1,000 copies are produced per month. We apologize for any inconvenience and will accept any pre-order.’

A screenshot from the current product page on Adorama showing the Nikon AF-S Nikkor 500mm F5.6 PF ED VR lens is ‘On Backorder.’

We contacted Nikon USA to check in on the current pre-order status and clarify whether or not production is at 1,000 units per month and received the following response:

‘Orders of the AF-S NIKKOR 500mm f/5.6E PF ED VR lens have exceeded our expectations. We appreciate our customers’ patience as we work to fulfill orders as quickly as possible.’

In other words, Nikon isn’t confirming the 1,000 unit per month limit, but it isn’t denying it either. Whatever the case is, it doesn’t look like the backorders are slowing down anytime soon, so don’t get your hopes up that you’ll have Nikon’s compact telephoto lens anytime soon.

How I Shot This Model in Just Fifteen Minutes

How I Shot This Model in Just Fifteen Minutes

Sometimes it’s fun to set yourself a challenge, maybe shooting with limited gear or with a very quick turnaround. On this occasion, I had no choice. The shoot was conceived and captured in under fifteen minutes, and the images were edited and submitted less than half an hour later. Here’s how it came about.

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How to Shoot Infrared Photography with a Smartphone

I will start with a warning: Digital Infrared Photography is not easy, and this will get technical fast.

Backstory

It all started when I saw some awesome Instagram photos in infrared and I ordered an IR filter (an 88mm ice 760nm from B&H to be more precise) not knowing much about infrared. Filters usually range from 590 to 800-900nm and usually, this kind of colored infrared shots are obtained with 590nm on a modded camera because it lets some visible light pass as well as infrared.

I had no modded camera and the wrong filter, but I decided to try regardless and soon found out that my trusty DSLRs have very well-made hot mirrors (the part of the DLSR that normally blocks IR light from hitting the sensor). But later, I discovered that my phone’s sensor is quite sensitive to infrared and this is how my journey started.

Gear

All my IR gear fits in a fanny pack! And it all adds up to around $25-$30 so it’s on the cheap end of the spectrum, assuming you already have a phone that can produce decent RAW images.

Camera Settings

  • Shoot RAW!
  • Iso – As low as possible (all the processing generates enough noise as it is)
  • Aperture – Since I shoot on a phone, I only get to pick between f/1.5 and f/2.8. This won’t make much difference in terms of sharpness, but it can help me get some more light and be able to shoot handheld.
  • White balance – 2300K, which is the lowest my phone can go.
  • Shutter speed – On a sunny day at noon I can go around 1/30, but it usually tends to go to the “hold your breath and pray for a steady shot because you were too lazy to bring a tripod” exposure time.

Post-Processing

First of all, if you develop your infrared RAW files in Lightroom Classic CC, you will have to use the Adobe DNG Profile Editor to create so you can go beyond 2000k white balance. If you process your RAW photos in Capture One Pro, you are good to go.

Step 1: White Balance Correction

After I am able to get a proper white balance on my shot, I’ll go ahead and develop the RAW image like any other landscape photo, making sure to add some sharpness, noise reduction and contrast, then off to Photoshop it goes.

The general wisdom for channel swapping is that you should replace red with blue and blue with red. That’s cool, but you will get much better colors if you also split the green channel 50-50 between red and blue. In the blue channel, sometimes it looks nice to do +100 red, +95 green and -95 blue for more vivid colors and less of a washed-out look.

Step 2: Channel Swap

Here’s what the channel mixer looks like once I’m done:

Now that the channel swapping is done, it’s time to chase that aerochrome look. For this I used a Hue Saturation adjustment layer to nag the yellows intro red and the blue into a more cyan look.

Step 3: Hue Saturation Adjustment

Finally, the last touches include adding some light flare and clouds to round out the image:

Step 4: Final Tweaks

Pros & Cons

While it is hard and frustrating to start working on infrared images, I find it very rewarding. When I started to get the hang of it after hours and hours of trying to get the look I wanted, I had a huge smile on my face.

Shooting on a phone while editing so aggressively has a clear disadvantage in terms of image quality, but the images tend to come out more than good enough for social media purposes, and in 2019 that’s fine by me. One big advantage is that instead of going out with a DSLR and a backpack full of lenses I can just grab my fanny pack and go for a walk—it’s helped me rediscover photography just for fun, a thing that I lost in the process of being a pro photog for years.

Will this become my main gig? Probably not. Will I make money out of it? Probably not, but I enjoy doing this for fun and it’s taught me loads about color management and manipulation.

If you want to see more of my infrared exploration, follow my infrared only account on Instagram. And if you give it a try, tag me in the posts! I would love to know if I’ve inspired someone to go out and have a bit more fun with photography.


About the author: Vlad Moldovean is a visual artist and amateur photographer with a huge appetite for tech and experimental photography. You can find more of his work on his website, or by following him on Instagram and Facebook.