Daniel Meier

That makes perfect sense. Thank you Jean-Louis! Wouldn't have thought that they'd use the metric system.

I am still pretty new to this camera. And I was wondering what the footage counter indicates. So I took a look in the manual. The lower left indicator shows, how much feet have advanced through the camera, right? So if I have a 100ft roll in the camera it should advance up to 100ft. I shot 24fps all the way so far. According to this photo, I already exposed 6ft of film, right? But then again, the frame counter indicates roughly 730 frames. Does this make sense? I put these figures through a calculator and it actually should read something around 18ft. Which makes more sense, because I filmed for about 30 seconds so far.

Any ideas, what the problem might be here?

Tried both lenses on my BMPCC4K today using the Metabones C-Mount to MFT adaptor. Both worked great. The 18-86mm was nearly 100% parfocal on the BMPCC4k. And I could focus even past infinity on the 10mm. Must be a misalignment in the Camera then, right?

Like I said, I already checked the diopter settings multiple times.

That's a good idea. Although I think the lenses are ok. But they might make a good fit on my BMPCC4K.

Dear community. I recently got me a Bolex Rex5 camera. The set included two lenses. The Kern Vario-Switar 18-86mm/f2.5 zoom and a Schneider Cinegon 10mm/f1.8 prime lens. It seems like the focus of the 10mm won't reach to infinity. Here is a video demonstrating that: https://vimeo.com/426998946/3241902a4f The zoom lens also gives me trouble keeping focus throughout the zoom range. A Bolex user (Ben Ericson on this forum) told me that his 18-86mm is parfocal. On my camera it doesn't work as a parfocal lens. Here is also a video demonstrating that: https://vimeo.com/426999919/166835a0f8 Things I already tried troubleshooting: - checking multiple diopter settings of my viewfinder (making sure the groundglass is in focus - I guess you can also tell from the video samples that it is) - making sure the lenses are tightly attached on their mounts Do you have any idea what might be the problem here? Is it the camera itself that needs adjustments? I bought the set for about 1200€. The seller said that all components are in perfect conditions.

Me and two of my colleagues want to dive into new cinematography fields: I was mainly responsible for the lighting and DPing and did all the color grading. Please feel free to comment.

Great and informative thread! I would really appreciate looking into any moving picutes. Can you give us a trailer or excerpt of the film?

Just found an interesting article on the ASC Blog: https://ascmag.com/blog/shot-craft/diffusion-confusion

I want to dive more into narrative books again. I've always been a very audiovisual person, when it comes to perceiving and consuming storys. So I'd like to come back to the written storys, after heaving read so many non-fictional books about lighting, photography and cinematography. Can you give me some recommendations? I know it's rather subjective. But I thought, I'd meet some like-minded people, since we are all filmmakers and visual storytellers. Maybe I can give you a little help with my favourite films and directors, that I enjoy watching: - Kitano, Fincher, Tarantino, Danny Bolye, the Coen brothers, W. Allen, Gus van Sant, Luc Besson, Spike Jonze, - nearly all of the Studio Ghibli movies and some classic anime feature films like Ghost in the Shell, - Se7en, Lost in Translation and Good Will Hunting are some of my favourite films I can watch over and over again.

Thanks to all of you. That already helped alot.

You guys know any good websites where I can learn about diffusion materials and their distinguish looks and effects? After all I want to be able to distinguish between Frost, White Diffusion, Grid Cloth, Tough Spun and the like. Some best practices or examples of usage on real lighting setups would also be warmly welcomed. Or maybe even you guys can talk about your own experiences. Cheers, Daniel

Thanks Tyler and Vlad for sharing your knowledge. Here are two sample frames from a Prores BMPCC shot to illustrate my green-tint-issue. https://www.dropbox.com/sh/8t78zdu3g6yhzl2/AADYjqNzZeLcfgnqP6aPaM9_a/Boz_BMDFilm_to_Rec709%20%282%29.jpg?dl=0 https://www.dropbox.com/sh/8t78zdu3g6yhzl2/AAAXq3Gsv0S8TKkkhG_PfV0pa/EOS-HD_SLOG_2_SGAMUT%20%282%29.jpg?dl=0 https://www.dropbox.com/sh/8t78zdu3g6yhzl2/AADbkFl7eQgOR9D8ie1jX9rQa/Boz_BMDFilm_to_Rec709%20%2812%29.jpg?dl=0 https://www.dropbox.com/sh/8t78zdu3g6yhzl2/AABwdT8-TPdr5mEvOje_JCgta/EOS-HD_SLOG_2_SGAMUT%20%2812%29.jpg?dl=0 I named the files according to the LUTs I've been applying to those shots. (No grading, just the LUTs being put on). As you can see the Boz BMD Film LUT has more green in the neutral parts of the image (mostly the mid-gray sections), whereas the EOSHD SLOG2 LUT results in a far more pleasing, neutral looking image. All of the usual BMPCC-REC709 LUTs give me that ugly green tint, just like the BOZBMDFilm LUT. This occurs in both situations, with and without any ND filtration. I even get better results with some heavier NDs (e.g. an ND 1.8), since it has a little magenta shift to it. I also did test the Hoya IR Cut filter, which gets hyped to death by every BMPCC user. I returned it after one day of testing, since I thought it was way overpriced for the effect it does. It fixes an issue that might just as well be removed in the grading process. I ordered the Rawlite OLPF yesterday, which also includes an IR Cut filter. But my main goal is to shoot RAW with less moiré. (Since RAW is way more prone to moirè than ProRes is on the Pocket).

Hey folks. This is an issue I've been running into several times before: I suspect, it is due to the lighting and its refresh rate. Unfortunately I didn't check out which source that was. Might have been some cheap CFLs or LEDs. The image itself didn't have that standard flickering (where the exposure goes up and down from one frame to the next). It just had this weird double outline on things moving. You can see it best when looking at the motion blurred parts of the images.