Archive for the ‘Filmmaking’ Category (feed)

Dynamic Range test in Canon picture profiles

I put up a video showing the dynamic range achieved with various third party Canon EOS picture profiles in video mode.

Shooting a movie? You only need TWO lenses

In a previous article I mentioned that the best cheap cinema camera you can get today is the Canon EOS M, that can be found for $150 on eBay. In that same article, I listed the hardware you’d need to pull off a believable spectacle. The lens I suggested was the 7Artisans 25mm f/1.8 ($70). You can shoot a whole movie with that lens. But sometimes, you just need something wider. That’s where the Opteka 12mm f/2.8 comes into play ($199).

I own five cinema-worthy cameras, but the ones that are most in my heart because of their ratio of features vs price, are the EOS M, and the BMPCC. The M has a more manageable codec at 45mbps, some basic autofocus, and support for picture profiles to expand its rather limited dynamic range (I’d suggest either Miller’s CLog3 ($25), Technicolor Cinestyle (free), or if you don’t like color grading much, the VisionColor CineTech ($20)).

The BMPCC on the other hand, while more of a pain to operate, particularly because of its poor battery life, it delivers the most pleasing film-like image, since it has a lot of dynamic range. I’d suggest you shoot at ProRES LT with it (84mbps), since RAW takes too much space, and its other ProRES variants don’t have much difference between them. The first feature-length (and serious) movie shot with the BMPCC, the sci-fi drama “Cosmos”, was shot just in ProRES LT and it looks amazing.

Now, regarding the lenses. You’d need one long/portrait, and one wide lens. Whole movies have been shot with just such a two-tier selection. The 7Artisans 25mm f/1.8 and the Opteka 12mm f/2.8 lenses can fit that bill nicely. If you do have an extra $150, go for the 12mm f/2.0 Rokinon “cine” lens instead of the Opteka, however, it’s not necessary. I suggest the Opteka 12mm f/2.8 ($199) instead of the very similar 7Artisans 12mm f/2.8 ($188), because of a slightly better design, and because of a smaller filter thread on the front of the lens — which is important for the reason that I’ll mention below.

Now, one thing you have to consider when choosing lenses is the crop factor. The EOS M is an APS-C sensor, which has a crop factor of 1.6 compared to full frame 35mm. It’s basically a smaller sensor than 35mm. The BMPCC is tiny, being a super16mm sensor, having a crop factor of 2.88. What this means is when we speak of a 12mm lens, and we may think that nobody needs such a crazy wide lens, you’ll have to take into account the crop factor. So on the EOS M, the 12mm becomes a 19mm in 35mm full frame equivalency (12 x 1.6 = 19). As for the BMPPC, the 12mm lens becomes nearly 35mm! Not so wide now, is it? You can barely see the head of your actor from a close distance!

7Artisans 25mm -> 40mm (35mm equivalent)
Opteka 12mm -> 19mm (35mm equivalent)

7Artisans 25mm -> 72mm (35mm equivalent)
Opteka 12mm -> 35mm (35mm equivalent)

For the EOS M, these two lenses would be all you need. They’re wide enough to do the job. For the BMPCC though, you’ll need extra help. You can buy a “Speedbooster” accessory, that widens the field of view of your lens, but at $750, it’s a ridiculous purchase. Instead, a cheap $50 wide angle adapter (0.43x, with a 67mm thread) will help you fix the problem. These cheap wide angle adapters are quite fuzzy on the edges (low quality optics), however, since the BMPCC can’t see the edges of the lens (because of its massive crop factor), the quality that comes out of them is acceptable. In fact, the guys who shot ‘Cosmos’ also used such a cheap wide angle adapter without visual problems.

You will also need a 46mm to 67mm step up ring (to mount it to the 25mm lens), a 67mm to 72mm step up ring to mount it to the Opteka, and you will need to have a 72mm variable ND filter and an IR CUT filter when shooting outdoors (to mount it in front of the lens or the adapter when needed). You will also need a 46mm to 72mm step-up ring, in order to mount these filters in front of the bare 25mm lens.

Basically, with the wide angle adapter, it’s “like” you have four lenses instead of two, depending on the shot you need:

7Artisans 25mm -> 72mm (35mm equivalent, bare lens)
7Artisans 25mm -> 60mm (35mm equivalent with wide angle adapter)

Opteka 12mm -> 35mm (35mm equivalent, bare lens)
Opteka 12mm -> 29mm (35mm equivalent with wide angle adapter)

To put it in perspective, the guys who shot Cosmos, after using both a speedbooster, and a wide angle adapter, their widest lens they used (28mm) was only about 40mm in 35mm equivalency. If they can do a whole movie with a 40mm lens, why can’t we do the same with more readily available and more flexible options? Let’s get to work!

Shoot a feature film with just $1000 worth of equipment

Here’s the absolute cheapest way to shoot a feature film, in a way that doesn’t suck. You will need a minimum of three people as crew: the director/focus puller, cinematographer (camera/lights), and the sound guy. Work on the set would have to be divided between them, e.g. when the director and cinematographer might be blocking a scene, or… moving couches around, the sound guy can also do backups or charge the various devices used. Basically, few people will have to do the work of many. The actors can do hair & makeup amongst themselves. Don’t worry, they’ll manage. 😉

Here’s the quality I got from using exactly the suggested hardware (minus a tripod, so footage is a bit shaky). The shimmer seen is added film grain btw, not noise (youtube doesn’t encode it nicely).:

NOTE: None of the following are sponsored or commissioning links. The list is just my honest opinion.


1. Canon EOS M, $150 on eBay, used. Shoots in manual mode, in 1080/24p at 45mbps (make sure you underexpose by 1/2 stop outdoors, its metering is not accurate) and it has a 1.6x crop factor. You don’t need 4k. Film is soft and a 1080p image will give you that.

2. 7artisans 25mm f/1.8 Lens, manual focus lens. You can shoot the whole movie with that lens. Get it even cheaper on eBay ($70).

3. Variable ND 46mm filter. Almost always to be used outdoors during the day. It will allow you to open up the aperture to f/1.8.

4. 46mm Wide Angle adapter. To be used to convert the 25mm lens to about 20mm, since there are no cheap solutions for wide angles lenses for the APS-C sized sensors. Use only in tight indoor spaces. It can’t be used with the ND filter.

5. TWO SanDisk 64GB Ultra SDXC UHS-I Memory Cards.

6. 2 batteries and charger for the camera. For outdoors shooting.

7. Dummy battery power kit, for indoors shooting.

8. Video tripod with smooth head . If strapped for cash, an Amazon-branded tripod for $20 will do as well.

9. Shoulder rest, for on-the-go shots (Revo SR-1000). You need a rest with only 1 handle, so you can use your other hand to focus.

10. 49mm lens cap & Sun shade for outdoor shots (screws on the front of the ND filter only, it requires a 46mm to 49mm step up ring if used directly on the lens).

11. Grey card, to set white balance. Don’t forget to lock your white balance when shooting.

12. Clapper board, helps with syncing audio in post, and to organize which shot is which.

13. Field Monitor, and 2 batteries for it ($140 overall). This is required in order to focus more accurately by getting focus peaking support.

14. HDMI mini cable to connect the field monitor to the camera.

15. Picture Style: Either install the free Technicolor Cinestyle, or if you want a more cinematic look, buy and install the VisionColor CineTech ($15, settings: -5, -5, -3, +2), or Lightform C ($7). You’ll get 1 more stop of dynamic range with these profiles over the Standard or Neutral picture styles. Here’s how it looks like, and how to color grade Visioncolor’s CineTech to make it look like film.


16. 2-Point lighting kit for basic indoor lighting. If you can afford the Newer 660 LED kits with a softbox, even better.

17. Reflector for outdoor scenes.


18. Tascam DR-05 digital recorder with Line-In and manual audio levels ($75, eBay). Record in WAV. Set your meters to between -8 and -12.

19. SGC-598 Shotgun mic, with phantom power. Consider lav mics too.

20. Deadcat, for outdoor shots.

21. Headphones for monitoring.

22. Monopod to be used as a boom mic (it’s cheaper than an actual boom pole).

23. 10-20 ft audio cable (10 ft might be enough).

24. Cold shoe adapter, to mount the mic on the monopod.

25. [Optional] Swivel extension, which lets you turn the mic at different directions on the monopod.


26. TWO USB drives from a reputable manufacturer. After each session, you save the recorded files in each of these, so you have two backups. Don’t skimp on backups, you’ll regret it. Keep the two backups at different locations.


Free versions of DaVinci Resolve for video, color & audio editing, the included Fusion for any needed compositing, Blender for 3D, the Gimp for any stills’ editing. The free version of Resolve doesn’t have noise reduction, but by using the ‘Lum Vs Sat’ color grading panel (as shown at the very bottom here), you can make it less visible (it makes it look like film grain instead of digital noise). If your PC is not powerful for DaVinci Resolve, then use the free Hitfilm Express for video/color, and Audacity for audio editing.

Other (prices not included in this estimation)

Extra batteries, gaffer tape, USB and car charger, laptop for backups, royalty-free music licensing & sound effects, legal, insurance, coffee & food. Unless you feed your cast & crew they will bail out on you. In fact, that’s the No1 rule of filmmaking.

Absolute cheapest

Get the suggested camera, lens, variable ND filter at 46mm, $20 Amazon tripod, microphone, SD card, batteries. Overall, $300.

4k Alternative
If you prefer 4k, then your best cheap bet is the Panasonic G7 ($280 on eBay). Use its flatter CineLike-D profile and modify it to have less saturation, sharpness and denoising (also turn Highlights to -5, and Shadows to +3). For a lens for it, because that camera has a crop of 2.0x, you need something like the Tamron 17-50mm f/2.8 non-VC version ($150 on eBay) with an EF adapter ($10). Optionally, also consider a Viltrox speedbooster ($150) for it for more cinematic results, it will turn that lens wider and faster. You will need a more powerful PC to edit its 4k footage than 1080p too. Here’s how footage looks with it when graded, before & after.

What Midnight Special is, and why many viewers didn’t get it

Contrary to popular belief, “Midnight Special” is a spiritual movie, turned sci-fi, turned spiritual again.

Some Q&A, and ***SPOILERS***:

1. Where did Alton come from?

– Alton was conceived & born normally by his parents, as any human has. The fact that he could reach to other dimensions was a product of evolution. His father exhibits the same abilities (as shown at the very end when his eyes shine), but to a much smaller degree. The evolution of human kind to another state of being is teased.

2. Where did the alien structures come from?

– They were not “alien” in the traditional meaning. They were on a parallel Earth (or another dimension), an Earth that had a different evolutionary path than ours. Parallel dimensions are hidden from our awareness under normal circumstances, but the biological evolutionary step mentioned above made it possible for Alton.

3. What were these beings?

– These were light beings. That’s where the spiritual part comes in: “light beings” are considered in spiritual circles to be very advanced entities. It’s been teased by the movie that that’s where humanity’s future lies too. Also telling is that Alton is reborn by the sun (the light that gives life to everything in our planet).

4. What was the point of the movie?

– Alton is a messianic figure, just not in the traditional terms. The cult thought that he was literally a religious figure, while Alton is messianic in a more subtle way: he reluctantly gives a preview to humanity of what lies ahead for them. The movie is about humanity’s “first glimpse” of how expansive the Cosmos is. Not just in terms of aliens travelling from planet A to planet B (in the same universe) as all traditional sci-fi movies have been for so long, but also in parallel, and also up and down and inner and outer (in other words, the Cosmos is a web in all directions of different universes and dimensional existences). That’s next-level sci-fi. That’s the border between sci-fi and New Age spirituality (without the negative baggage that usually accompanies it in the minds of most people).

5. Ugh, so New Age hogwash was the point of the movie?

– No. What people today call “spirituality” is really science that hasn’t been understood yet. And since science can’t explain it yet, some “faith” might be required in the meantime for those who had direct experience with it. This is why it was so important for Lucas to say “I believe”, because after he had his direct experiences with Alton, he made the leap to faith. But belief is to be transcended by hard data, otherwise it becomes dogma, which keeps humanity down. This is what the movie is going for too: the leap from unbelief, to belief, to hard data, and not to dogma (that the organized religion/cult had fallen victim of).

The most telling scene on this interpretation, is at the very end, when Durst is cutting her hair. You can interpret that scene as simply trying to get away from FBI, so she needs to change her appearance. Another, deeper explanation would be though, that Durst’s character now is free from religion and dogma. You see, her braids were the same as the women in the cult. Even if she had left the cult, she was still bound by their beliefs for years after. By cutting down the braids, she’s now free from such beliefs and dogma, she understands that the cosmos is more expansive, and that said expansiveness is not necessarily “religious” in nature, but rather, “just is”.

This was for me the best movie of 2016. The most forward-looking, and the most “edgy” sci-fi movie of them all, by literally moving the needle of sci-fi from caricature super-heroes, monsters, and A-to-B aliens, to a more expansive terrain that’s more rich in potential. As an ex-filmmaker myself, that’s the kind of sci-fi I always wanted to make too (I’m a meta-psychedelic visual artist now).

6. So why didn’t so many people get it?

– It’s because most people aren’t indoctrinated in such cosmological ideas. Even if Alton did explain it at some point, about a “world on top of ours”, that still didn’t register with most people. Most viewers needed a way more spoon-fed explanation to get it (and maybe they should have received it, that’s a failure of the movie production companies involved to not insist that the director gives it to them).

Additionally, the press’ comparison of this movie to the ’80s Spielberg movies didn’t help at all, because this movie had absolutely nothing to do with these older movies (people went to the cinema expecting something specific and recognizable, and they got something completely different instead). So they found the movie a boring dud, as if without significance, and with a WTF ending. But there is significance in the movie, it tells of a larger world that we will eventually reach one way or another, but that we must have faith until that day comes, when that faith transforms from belief to hard scientific data.

This is not different than if the year was 1870, Jules Verne trying to convince people that one day we will have technology to reach for the stars, or the deeps of the sea, and instead, he gets people thinking he was crazy, or just a “fantasy story without significance”. All it needed was some faith in the natural process of technological and/or biological evolution. That’s what the filmmaker is asking of you today too.

24 fps vs 48/60 fps in movies

I watched the trailers of The Hobbit at 48fps and Avatar’s at 60fps (as their directors wished), and I really don’t like the smoothness. Originally, in principle, I was a high frame rate advocate for cinema movies (thinking that 24fps is simply a relic of a century old tech requirement), however, now I’m against upgrading the temporal velocity for regular film. The difference between my old opinion and my new one, is that now I know why 48 or 60 fps don’t work as well as 24 fps. I had to become a collage artist to understand why.

The reason is that high frame rate becomes extremely distracting. When there are more frames, it means that there is way more information on the screen. The eye and the brain gets way too tired to follow and analyze it all (it follows it by default, you can’t turn off that natural process). Because of that, the brain runs out of steam to follow the story fully, and so the movie fails because the story doesn’t shine through.

The same is true for color: if you look at Hollywood color grading, except for black & white, only 1 or 2 more color families are actively visible. For example, you will get red, yellow, and that teal color that covers both green and blue. Basically, the fewer color families that are on screen, the less processing the brain has to do, resulting in the viewer dipping into the story more.

It’s the same in collage: the fewer the color families used, the more successful a collage is. Otherwise, it looks like a mess.

Having said all that, there is a future for high frame rate (and more colors), but that’s only in VR, or in futuristic systems where the image is projected directly on the brain. Then, yes, there’s a requirement for “more”, since the whole point of VR is to “fool” the brain about the reality it displays.

But for TV & film, which is projected away from ourselves, and perceivable by only one of our senses (so it must provide less information in order to be processed fast-enough), “less is more”. That’s why 24fps is here to stay for these mediums in particular.

iPod Touch sensor crop and wide field of view

I received my Moondog Labs anamorphic lens for mobile devices today, and ran some tests. It is wonderful to be able to have such a wide field of view with a device such as the iPod Touch 6th gen. As you can see in the picture, the image is way wider than shooting in standard 1080p. But do not make the mistake to think that this is all the anamorphic lens’ doing. There are THREE factors that extended the wide field of view that much:

1. Shooting in 3k instead of 1080p (using the ProMovie app), the sensor gives you a completely different field of view. The crop of the sensor is smaller. This is the biggest hack you can do to get a wider field of view (it’s even bigger than the anamorphic lens hack!).

2. The anamorphic lens.

3. Turning off stabilization (which means that you must have some sort of other stabilizer at hand to shoot properly).


Here’s the test video I shot today:

Here’s how I shot:

1. I used the ProMovie iOS app, which allows me to record at 3k (3200×1800 resolution). I used 100 mbps, at 24 fps. I locked the exposure to 1/48th shutter speed, and then I set the ISO to lock the exposure. I set and locked focus, and white balance. The ProMovie app also has an anamorphic screen view! I set stabilization to OFF (that’s why the video is very shaky). Obviously, when shooting something seriously, use a tripod or a stabilizer/gimbal.

2. When using the Moondog Labs anamorphic lens, and you apply the 1.333 aspect ratio in the project properties and on each clip (I use Sony Vegas), the effective resolution becomes 4267×1800.

3. Then, I color graded this way, plus I added the FlmConvert filter with its “FJ H160 Pro” template, and also tweaked the template’s levels a bit.

4. Then, I exported at exactly 3840×1620, at 100 mbps bitrate (I exported no audio in my case). If using Sony Vegas, you must “disable resample” in all clips in the timeline before you export. Then, I uploaded on youtube. It is very important to export at the exact resolution stated above for 4k anamorphic btw, otherwise, people with ultra-wide monitors will get black bars on all four corners! The above resolution is ultra-wide UHD (3840 px wide).

How to color correct for iOS devices

It is definitely possible to shoot a movie with a mobile device, just like the Sundance movie “Tangerine” did. And in fact, today it would look much better than Tangerine looked like (which had pretty bad lighting throughout). Being the bad girl I am, I ordered the Moondog Labs anamorphic lens, with a 52mm filter ring, to add a variable ND filter for outdoor shots and shoot anamorphically for more cinematic shots.

So, I spent $150 to buy FilmConvert today too, only to find out that I could do a better job myself at grading my iPod Touch 6th Gen footage. Click the images below to see the before and after properly (click through again to see them in full resolution).

For this tutorial, you will need the Sony/Magix Vegas video editor.

1. Shoot your movie with either Filmic Pro, or if you have an iPod Touch instead, the ProMovie app. The ProMovie allows up to 100 mbps bitrate, and for certain newer iPods, it can shoot at 3k instead of just 1080p. At the end, you will be exporting again at 1080p (or 2k), but you will have a wider angle and more pixels to work with than shooting in 1080p.

2. Make sure lighting is adequate indoors. If shooting outdoors, always have the sun on your back.

3. Set your app at 24 fps, and lock the shutter speed at 1/48th. Lock white balance to the best value you can, and lock focus. For ISO, observe the exposure meter, and always lock the ISO half a stop below of what the app thinks it’s the best exposure. This is because mobile apps tend to overexpose. This is mostly true for outdoor, or brightly lit scenes.

4. Record (preferably with a tripod or a gimbal), and save the video in your gallery (there’s a small icon to do that). Connect your device, and copy the MOV file(s) over to your PC.

5. In Sony Vegas, it’s very important to set the right project properties to match the clips (right frame rate, tell it it’s progressive, etc).

6. Bring the footage in your timeline. Select all of them in the timeline, right click on any of them, and hit Switches/Disable-Resample. If you don’t do that for ALL your clips in your timeline, you will end up with “ghosting” (blurred images).


7. Pick a clip in the timeline, and click the little + icon at its far right to add plugins on it. In the new window that opens, click the little + icon again on the right of the window, and add, in this order:
– White Balance: amount 0.100
– Saturation Adjust: pick the preset “Reduce minor color noise”
– Brightness & Contrast: Brightness -0.040, Contrast: 0.075
– Color Corrector: Saturation 0.800
– Gaussian Blur: 0.0003 for both horizontal & vertical ranges

8. For exterior, sunny shots, it’s the same as above, except for a few small changes:
– Brightness -0.040, contrast 0.000
– Color Corrector: Saturation 0.750

No scene is the same as another, so you will slightly need to adjust the above to better match your scenes.


9. After you color corrected all clips separately, click the + plugin icon on the left of the video timeline (that’s the icon for the global plugins). Add the “Levels” plugin, and select the “Computer RGB to Studio RGB” preset. This will make your footage look “flat”. That’s ok, it won’t look like that when it’s rendered at the end. We need to do this, otherwise all h.264 exports will come out way too contrasty (they will differ from your Vegas working preview, and this plugin prevents this).

10. Export by clicking File/RenderAs and opening the MainConcept AVC/AAC format. Select the “Internet HD 1080p” template, and click “Customize Template”. Make it look like exactly like this (and give AAC audio 160kbps at the very least). Then, upload to Youtube the resulted .MP4 file if desired.


Note: Interior shots might need denoise. You can do that using the Neat plugin (commercial), or by bringing your noisy scenes to Photoshop one by one (use an intermediate codec in that case). I used Photoshop above for the interior shot of my living room.

Note 2: A very interesting Vegas plugin is the LAB Adjust. With it, you can mute the green colors (or too much orange colors), by using the “Channel b” very slightly (bring it towards the left). Some shots might require this plugin. Hollywood movies have strong reds and blues, but greens are rather muted.

RE: The Politics of Star Trek

Lawyer Timothy Sandefur wrote an editorial for the “Claremont Review of Books”. In it, he’s saying that Picard’s non-interference politics were a step backwards from Kirk’s constant seek of justice, and that in the movie “Insurrection”, the race of Ba’ku were backwards people, shunning technology and exploration.

Personally, I find his positions immature. His positions are opinions that I would have agreed to 10 years ago. Back then, I’d fight for justice, and I’d interfere too. And I felt that technology and science were everything! But now, at age 42, I see the world differently.

In my opinion, it’s a mistake to interfere in another species’ actions — sometimes even when asked to, unless your own species (or alliances) get in danger because of these actions. It’s part of the evolution of every individual and species and their society to have wars, or even massacres. There is no society that can grow if everything is all rosy, or are held by the hand. The ugly things must happen for the good things to arise and become part of their nature. So who are we to get in the middle of an alien civil conflict “so we save them”? If you don’t let them duke it out, you don’t save them, you just postpone it. On a case by case basis, interference might be justified if the species tries to eradicate itself via nuclear weapons. Second chances can be given, but if they insist in extinction, then this is their right. Stop trying to “save” them. Your human morals don’t apply to all species. Let the universe play itself out.

As for the Ba’ku being backwards people, the author doesn’t get their philosophy at all. The writers of the movie left clues about their abilities: they were able to manipulate space and time via the mind (remember the bits about “the eternal moment” where time was stopping). They needed no spaceships to “explore”. Their minds were constantly as if in deep meditation. With that ability, they could visit not only other planets in their galaxy, not only the rest of the universe, but also other universes! Something that the Federation’s technology couldn’t do!

So, no, the Ba’ku weren’t backward people. They were miles ahead of the other humanoids on Star Trek.

They say that there are 5 “soul ages”: infant, baby, young, mature, old. People who re-incarnate on Earth can be any of these 5. Most of them are in young/mature categories in the Western world (with the Tea Party/religious fanatics belonging in the “baby” category). The way the author sees the world puts him right between “young” and “mature”. Similar ideas as those expressed on Reddit by moralist atheists.

Problem for them is, there’s a 5th stage, the “old soul”. And the old soul sees things differently, and I do too.

So, in the example the author gives, about the looming Klingon civil war, the various soul ages would react as such:

Infant: “Bwahahaha, nuke yourselves already! One less competition/enemy!” (Ferengi/Klingons)

Baby: “I’ll let you fight it out, and then conquer you while weakened.” (Romulans/Cardashians)

Young: “If I help you, you should help me too in what I need!” (Andorians)

Mature: “No, stop what you’re doing! You’re killing yourselves!” (Kirk / Early Federation)

Old: “You’re free to do what you want to do.” (Picard / Late Federation / Most Vulcans)

Cinema FV-5 for Android

My mini review of the Cinema FV-5 Android application, tested on the OnePlus One phone. The app is able to do all the basic things needed to get a good quality, flat result out of your phone’s camera. It supports: exposure set & lock, WB set & lock, manual focus and lock, low contrast/saturation/sharpness (“flat” colors), 24p support among other frame rates, and up to 40 mbps bitrate. On my phone, it supports up to DCI 4k resolution (the free version of Cinema FV-5 does all the above too, but it goes only up to 720p — which can be enough for most cases). In some phones (particularly if they have Lollipop), the app also supports manual shutter speed and ISO settings. If you couple your phone with a variable ND filter for phones (to control the camera better outdoors, where they tend to overexpose), and a small steadicam, you could have a winner.

It worked fine on my OnePlus One, but on the 1st Gen Moto G with Android 4.4.4 it had problems: no focus, no recording (it only recorded once, and then it refused to do so again). It’s very possible that these problems will go away with a Lollipop upgrade, because Lollipop has a much better camera API.

A look at the Canon S110

I was close on getting a Panasonic LX100 for its 4k video, but then I found a deal at Amazon for the Canon S110, for just $180 (1/5th of the LX100’s price). The S110 doesn’t have 4k or full manual control, but it does have the bare minimum to be able to shoot nice videos: exposure compensation & lock, manual focus, flat colors, an ND filter, and 1080/24p at a good bitrate. If you half-press the shutter button, it also gives you the shutter speed, so you might be able to lock the exposure at a shutter speed close to 1/48th, to achieve an even more filmic look. The camera has a larger sensor and faster lens than most P&S cameras, so for the price, it was a steal. I haven’t shot anything interesting with it yet, but so far, I like what I’m seeing.