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For programming, I spent a lot of time on little projects, picking up skills as I went. Getting better at programming can be done in small ways: solving small problems that stretch your logical skills, and in big ways: intentionally creating a program that is larger than any you've ever made before, so that you can practice creating scalable software. For the math, I took as many math classes as I could while getting my degree. The biggest benefit of my math education was learning to think about math creatively. Most of the work in this project was just taking big concepts, like "how do I find the intersection of two meshes?", breaking it down into the smallest problems I can solve if I think about it, like "how do I find the intersection of two triangles?", then using the sum of the small solutions to figure out the big problem.

@TraceMyers26 THK you for the answer. I've seen your itw about kingmakers and your work seems so advanced like the pathfinding stuff. Digging all Unreal code and modifying it seems quite complicated but I guess your personal projects lead you to have a solid understanding about all of that ! Congrats for your great skills

@ I'm flattered you looked me up. And yeah it's all about progressively getting better over time. I'm working on the game rn actually.

It's from an old animated movie I tried to make. It's a robot servant's projector eyes.

I've been really busy at work so unfortunately I haven't been able to make progress on this project

I paused development on it but I consider going back to it sometimes.

@@TraceMyers26 I send you a MP. Please let me know if you're free! I need to talk to you.

@@francisgagneart I don't think youtube has private messages anymore. you can email me at cautiontothebirds@gmail.com

This was the first version of the bmpcc, which didn't have 4k.

@@TraceMyers26 Oh OK.

I can't be sure, but I think 0:32 is just rec709 at dusk. blue is just because the sun is nearly gone, so shadows go blue as long as you wb for the lighter area.

No I wasn't using a metabones here.

@@TraceMyers26 What kind of adapter did you use then?

@@verovang No adapter. Rokinon makes MFT mount cine lenses. Heres the 12mm (express.google.com/u/0/product/5307399556299869627_6796312437117243337_1057813?gtim=CMuphLKyyoHvMBCSqqGywJ6OojsYgJOrsgEiA1VTRCjglMTlBTCVyEA&gclid=Cj0KCQjw1pblBRDSARIsACfUG13ET5o_aLYp3nmJVxllwJdipmjtDSeE2g1AtFaUHNjp9Q8mZclHHt0aAlxUEALw_wcB)

It was a typo. The title is true.

BMPCC no speedbooster

It's too light to handhold without a shoulder rig really, unless your lens is stabilized. Even then, you'll get shakes and shutters.

Thank you for reply, keep up the good work.

Hey, thanks :). The twixtor plug-in for After Effects creates better interpolated frames for you than you would normally get through AE or Premiere.

Thanks very much!

+steve eastwoofer This was shot in Prores HQ.

+JacobIzrael It's not gonna happen, so I'm not worried too much about it. Thanks!

+MalloryJacobPacheco I'll explain the crop factor really quick. BMPCC is 2.97x crop, which means you're using a tiny portion of every lens you put on the camera (even MFT lenses). 12mm on the BMPCC gives you the frame size of a 35mm lens on a full frame camera. 16mm gives you the frame size of a 50mm. 35mm gives you the frame size of an 85mm. If you got an 85mm, it would give you the super-duper zoomed frame size of a 250mm lens, like those long sports lenses. You would have to stand very, very far away from every subject. But, frame size shouldn't be your only concern. A 12mm lens, though you're only getting 35mm's worth of it, is still significantly super-wide and distorted. It's still a 12mm lens. Everything will be in focus. When using the BMPCC and wide lenses together, kiss any ideas of shallow depth of field goodbye, because you won't have it. It's hard to say what you would need as a "primary lens" since that would depend on what you intend on doing with the camera. I have the Lumix 14-45mm. In fact that was the first lens I got with my Pocket. It's as good as any as a starter lens. You should mainly be worried about your technique and not your gear. I wouldn't expect to make money using that lens, but it's as good as any to start with. This camera will never be a full frame camera, so I would stop as soon as possible in making any comparisons. Embrace the crop and don't worry about going too wide. If you are okay with not being able to zoom in and out, the Rokinon 35mm was my favorite of the bunch. It kicks the 16mm's butt and it blows the socks off of the 12mm. If you really want to save money, don't get the cine versions. They look and feel nicer, but they use the same glass as the photography lenses.

+Trace Myers Thank you so much man for responding - and in detail! You have no idea how this helps me out. One more dumb question though, you mean the Rokinon cine lenses don't have a zoom ring? Also, is there really no chance of getting a shallow depth of field with the 12mm/12mm - even on ND filters?

I mean it's not that I use zoom a lot but I'd like to have that option - for instance I love "zolly" shots. Basically what I need is something that can last me this year in film school - or even until the next term/semester. And now that I think of it I do use tight shots a lot and a lot of zoomy-shaky Battlestar Galactica-esque cinematography - you mean I can't do that with the cine lenses? Because it would be such a shame I so badly want to try out those de-clicked manual aperture rings! But well yeah, as of the moment I'm seeing the 14-45 as a viable solution. But still, so hard to decide haha.

To get a better feel for the rokinons, check out this thing I made a while back: ruclips.net/video/qtBOfXoxQKo/видео.html . 0:03-0:20 is the 12mm and at 0:40s is the 35mm. +MalloryJacobPacheco The Rokinon lenses are 'prime' lenses (12mm, 16mm, 35mm, etc), which means their focal lengths do not change. 'Zoom' lenses (14-42mm, 12-35mm, 50-200mm, etc.) can shift the elements inside the lens and effectively change focal lengths. That is the 'zoom' effect. Shallow depth of field comes with using 1.) wider apertures (lower F and T numbers, such as T2.2 or F1.8) and 2.) longer lenses (larger focal mm number). The wider the aperture and the longer the lens, the shallower the depth of field. So, while Rokinon's 12mm lens is T2.2, which is a nice, big open aperture, it is still a a super-wide lens. For the background to be out of focus at all, the subject would have to be within 3 feet of the lens. Usually for a zoom lens to be as good in quality as a prime lens, the zoom will cost 2-3x more. Dolly zooms are very difficult. You have three core actions at work: the dolly, the zoom, and the focus. If you have somebody to pull/push you on the dolly, you still have to both zoom and focus at once, working the rings in opposite directions and at opposite rates. The Lumix 14-42 is a kit zoom lens, which isn't going to make it any easier. The zoom is sticky (not smooth) and the focus throw, or the distance the focus ring turns between closest focus and infinity, is tiny. Also, the aperture (the iris of the lens) on the Lumix is variable, which means your shot will get darker/gain depth of field as you zoom in. And vice-versa, your shot will get brighter and narrow its depth of field as you zoom out. So! Suggestions. If you want to be able to use the 14-42mm range of focal lengths in one lens and be able to zoom in your shots, go with the Lumix. If you are okay with zooming with your feet, and you prefer comfort, ease of use, and better optical quality, go with a Rokinon. Probably the 35mm - especially if you like tighter shots. If you want to pay the premium for the cine lenses, that's up to you. They are better for video, but not so much so that you shouldn't save your money and spend it on another piece of gear. If you don't have any stabilization equipment (shoulder rig, tripod), you're gonna want to go with the Lumix. The camera is too light to handhold. Your footage will be very shaky.

+Trace Myers Oh my god, okay so now I know. Sorry you had to go through all that explaining, it would seem I'm still a newbie at these things haha. I guess the camera that I'd been using this past year did not really give me anything to learn from. Once again, thanks man for taking the time - this really helps me out! I guess I would have gotten the 85mm if it weren't for you, haha. Alright, I won't be taking any more of your time, I have some deciding to do apparently! Thanks!

+IMLYINGISWEAR This was the MFT version of the lens, so no speedbooster.

Great thanks!

Sonny Fernandez Hey, no problem.

controversialnyc Grade the Prores HQ files in DaVinci Resolve, output 10 bit YUV Quicktime files, edit in Premiere, output and upload high quality MXF so youtube compression looks better (hopefully).

***** I used Prores HQ, since I don't have a fast enough card for RAW.

***** ruclips.net/video/aqx96MyTKuU/видео.html I shot this video just today. I feel like it displays pretty well what BMPCC, Prores, and Rokinon can do together.

***** This was shot with the Rokinon 12mm, 16mm, and 35mm. All of the shots were wide open due to lack of light.

Adam South nope, no speedbooster.

I bought the lens anyway now and It doesn't vignette even with a speedbooster :)

Hey, thanks.

That, I think, had to do with the fact that I was using hard light sources, my inexperience with exposure in this video, and the BMPCC's sensor. The main thing with these lenses is they're a little soft wide open. For a better look at how the lenses grade (not expertly), you can take a look at this short I made: ruclips.net/video/2Z7v4peBlOE/видео.html

***** Thanks!

Thanks, Trebor. Nice choice of avatar.

Thanks! Yeah, it is a fantastic camera. Just takes a little extra work to get it right. Side note: I just came back from Atlanta and this little thing has 100+ views. Good surprise.