How to become a billionaire filmmaker
Just follow this simple three step plan, it will make you a Billionaire Filmmaker!
Step one: Write an app called Angry Flappy Birds and sell the rights for a billion dollars to Googlebook. Disappointing right?
Slowmotion: HFR mode with the RX10IV (updated)
Slowing down time has always been something magical and for a long time, it was only available in expensive cameras. Even half the speed already makes a simple scene more interesting.
RX10IV: Cinestyle 2: The return of Cinestyle
For video, the RX10Iv has a whole range of picture profiles, from your basic REC709 (TV colourspace) to Cinegamma and one of my favourite: Cine2 or Picture Profile 6 (PP6).
RX10 IV: Lord of the Zoom
Shooting a little surf impression with the RX10 IV.
So this is the 4K on factory default, no tweaking and both AF and white balance on full auto. All things considering: this is shot in pretty windy conditions without a tripod and despite some jittering even at 600mm (220mm real lens size) 35mm equivalent the image is usable.
Cinematic Sony FS5: things to like and not to like
When you look at the FS5 it seems like the perfect marriage between size and function, it has the right buttons, the fantastic variable ND. It comes with ‘real’ audio, the Mi hotshoe that can plugin your wireless receiver. It has the right picture profiles, two SD card slots and a nice rotating grip that can be extended. The overall idea behind the camera is excellent, but there are a few things that don’t work as well as I would have liked. I didn’t buy the FS5 because it is cheaper than the FS7, I knew I was going to spend more money on the FS5 with all the extra’s than on an FS7, besides, I already own the PZ 28-135 FS7 kit lens
Cloudy with a chance of 4K: Black Magic Production Camera
Today was a full 4K day, given the circumstances, I probably should start the day now with a Special K breakfast just to get in the mood. Packed two V-mount batteries, an S160 and S90 (160 and 90Wh 14.4V), a bunch of Canon L glass: the 70-200, the 100-400 and 16-35. Two Tiffen variable nd’s: an 82 for the 16-23 and the 77 for the other two lenses. Left the Zacuto half cage at home because it flexes too much and just took the Axis EVF mount. This can be used with the NATO rail on top of the Black Magic Production Camera (BMPC). Got a 90 degree angled BNC connector for the BMPC SDI out so it doesn’t poke me in the face whenever I go ENGangnam style with the recoil. As a bit of a joke and because I don’t like the hard coax cables I put an old yellow plugged video cable between the BMPC and the Alphatron EVF. Seems to work fine and the thin cable is nice and flexible, which is good.