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For filming this I had a v-mount under the camera(cage) as power solution. And a camera strap as support! It’s important to make the camera a bit heavy to reduce jitter. Also added 3rd point of contact with the EVF on the camera, which helps making steady shots as well. Lastly the camera captures gyro data, which you can use to stabilise the footage in Davinci resolve. Works like a charm!

Todo lo que te dice Wander es perfecto, pero lo primordial es partir de una grabación estable. Los novatos, soy uno de ellos, creemos que le vamos a dar mas dinamismo a una toma moviendo el encuadre, pero las tomas tienen que ser lo mas fijas posibles. Luego ya puedes añadir algún movimiento en la edición, de paneo o de zoom. El movimiento lo dan los elementos de la imagen, ellos son los que se mueven, no la cámara. Y si la mueves como mucho unos pocos centímetros usando las piernas, si mueves los brazos estás perdido. Los 6k te permiten luego estabilizar y reencuadrar sin problema. Solo acudo a un gimbal para casos de seguimientos muy extremos, o grabaciones de casas para inmobiliarias donde te mueves para enseñar la casa. Pero las verdaderas historias se cuentan desde el punto de vista de los ojos humanos, con un poquito de vibración natural.

It’s mostly the native iso 400. There’s no additional noise or noise reduction in this video. At the moment I film on external ssd’s, I have them neatly tucked away in my camera cage.

@@WanderAndringa Thank you for the answer. I'm thinking of buying myself this camera

Tiene ISOS nativos en 400 y 3200, pero si estas en condiciones de poca luz intenta usar ISO 1250, funciona especialmente bien. Los SSD que yo uso son Samsung: el T5 y el T7, pero te avanzo que con una tarjeta SD de 512 gb V60 de buena calidad vas poder grabar muy bien, barato y cómodamente. La CFAST, los SSD y las SD V90 no son tan necesarias en la mayoría de los casos. Grabando en BRAW a velocidad constante de transferencia de datos 1:8 o incluso 1:12 no vas a tener perdida de cuadros, y la calidad es más que suficiente en la mayoría de los casos. Salvo que vayas a grabar una película para Hollywood. Cómpratela si, por supuesto. La 6k pro te permite llevar los filtros ND integrados, y eso es muy muy muy cómodo. La diferencia de precio se compensa por no tener que comprar un buen ND variable.

@@MrStraciatella thanks for the information. Tell me sandisk ssd 2tb is suitable. I like Bmpcc 6k ff more. I have vintage takumar 50.1.4, helios 44-2 lenses

@@skymoonstudio El sandisk ssd supongo que irá bien. No creo que el de 2 gb/s de velocidad merezca la pena gastarse el dinero, el de 1 gb/s es suficiente. No lo tengo pero en la red se ve usarlo. Pero si no lo has comprado aún, el samsung T7 creo que es mas barato y tienes soportes para ponerlo en la jaula de la cámara. Yo también uso objetivos antiguos. El Helios estoy deseando comprarlo. De el Takumar no sé nada. Te recomiendo que te consigas un Tokina 11-16. Por menos de 200€ es maravilloso. Con la BMPCC se te convierte en un 16-24. También tengo el Tokina 20-70, pero no es tan bueno. Y el Canon 80-210 que tampoco es una maravilla. Pero para lo que me han costado (60-80€) no puedo pedir más.

Thanks Adam!

Has nothing to do with the lens mount :-) But with the size of the camera sensor! With the 12k sensor you have a slightly larger than s35 sensor area with a 1.3x crop factor.

It doubles the work for the lighting crew to use a camera with less dynamic range.

I use modded lenses with SIMMOD. All my lenses are EF mount, so this was the only option for me. I don't want to change out my lens mount every time I go out shooting. CanonFD's are great, but not for every project.

This post is delusional and should not be believed by newbies.

Thanks Zachary! I did try some clip on matteboxes and it kind off differs from lens to lens on how they react. I guess if you have a really light mattebox it would work out decent, but some lenses do focus a bit heavy with a clip on. And the 17mm f/4 ssc has a rotating front, so you should avoid that one all together.

@@WanderAndringa Thanks my man. I appreciate that info. Sounds about like the R set then. I float the misfit atom. It is just so nice to have these light lenses that produce such quality. A rehoused version is great too of course. Enjoy those lenses!

@@ubir9743 hope you are well my friend. A few thoughts. I believe standards to be a little overrated after comparing, and I have always loved vintage. They protrude close to the digital sensor and are not very sharp. The look they give is not that pleasing compared to alternatives. I think the R wins in every aspect. Full frame, skin tones, sharpness, bokeh, and more. The one place the R struggles is those darn still lenses build. It is not very good for pulling focus (play) and they just don’t hold up. Keep that in mind. But image alone, not even close. R wins.

@@ubir9743 sure thing my man! Super speeds for sure are better. Sharper. Ultra primes do run magentas into skin tones. That always bothers me. Now master primes, that is another story. Perfect skin rendering. But a colorist can handle that no problem. All be honest, Cooke lenses for sure are not just hype. Been my fav and I always go back to them. But everyone loves something different for sure. Those R skin tones are perfection though. Also great depth in the image like Cooke. Not as flat as some Zeiss glass.

Hi Cire! Thanks for the tip, will definitely take a look at that lens :)

So I read that the 90's version has a metal hood permanently attached to it, how does that work out with matteboxes?

@@WanderAndringa you want to look for the AT-X Pro, it doesn’t have permanent hood. If you want manual aperture get the Nikon and convert to EF with the Simmod adapter.

A is Blackmagic, B is Arri and C is Mavo.

I dont know what is wrong with your eyes but I would get them checked out. haha

12k hands down. Fx6 is overrated

Thanks Milan. It's a rather simple setup for this one actually. Camera right in the corner is a litepanels gemini 2x1 coming through a magic cloth. The practical is fitted with an aputure b7c bulb.

Also the booklet is bouncing the light back into the subjects face.

You should play around with some ungraded images from the Amira or Alexa cams in Resolve. You can push these images so much further than Braw without them falling apart. All BM footage I see (graded even) looks like desaturated crap.

@@mpbootcamp7009 I have. I do Color for a living. I love Alexa too but, in my experience, the Ursa and Alexa are super, super close in look and feel. I'm not sure what footage you saw, or maybe shot by a beginner or something but, when shot professionally, it's shocking what you can pull out of braw. The original Gen3 braw was terrible, maybe that's what you're thinking of. It had some 'digital' plastic feel to it, unrealistic skin tones, brownish look to it. Gen4 and Gen5 were huge leaps forward. Black Magic owns Davinci Resolve... they're not some upstart company that doesn't know anything about color.

@@ronineditor9920 I use DaVinci exclusively for color grading so please dont talk to me in a condescending tone. DaVinci is amazing but wasnt created by Blackmagic. They purchased the rights to it back in the early 2000s from the original inventors. The footage I graded was from BMs own site so if it is "amateur" then maybe they need to invest more in marketing or get better DPs on board. It cannot be pushed anywhere near what basic Alexa footage can be pushed. When you start pushing the color saturation then color noise appears quickly. It looks like a low bit rate Sony cam (a6000 series) when you try to make colors pop. There is zero chance that Braw is true raw and it looks worse than most 4:2:2 10 bit out there.

@@ronineditor9920 If you do "color for a living" then can you direct me to your reel of work or a company page? I would love to see what you can do with BM footage.

@@mpbootcamp7009 I'm not outting my actual name to prove it to some rando. Sorry. I actually deal with it a lot, a music video I shot on it and graded myself is up for a Grammy. They seemed to think it was 'okay'. At work, for a major network, all of our campaign interview pieces are shot on various Black Magics, sometimes with beginners who blow-out the footage and I still recovered it. I've been editing and Color-Grading for 23 years, before it was an actual job. It's crazy that you think it's so bad. Look at Komodo... in the wrong hands, it's horrible footage... but the right hands, it's great.

Some of them are, you can find lists online. I believe some of them are the 17mm, four versions of the 35mm 2.0 and the 50mm 1.4 s.s.c. But supposedly you have to wear the lenses on you 24/7 for a whole year and still not be exposed to harmful radiation. Except for when you'd polish the lenses and breathe in micro dust from the glass but that is something which is/was only done in lens factories. If anyone has found a different reaserch outcome I'd be happy to hear :)