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Sorry Jon, I've now got visions of you muttering 'Fuck tha Police' as you smuggle an array of Tiffen filters in through customs on your way back from Hong Kong

Sometimes lenses of the same brand/generation don't even match. My Canon FD 35-105mm 3.5 lens has really low contrast compared to other Canon FD lenses of the same generation that I own/have owned. I think it's best to just test/compare all of your lenses side-by-side and figure out how they make you feel and use them to convey that feeling when necessary.

It was quite a coup for Sony to get The Smurfs on board though as the little fellas had traditionally been Polaroid ambassadors.

Posted it first in another thread, but (correctly) was suggested that I asked it in a new thread. I have a incoming trip - London, Barcelona and some Portugal cities in september / october), and I wish to make some travel videos with a little bit better quality. Since I will go with my girlfriend, time consuming setups are out - my idea is to buy a Crane-M in London (than I could bypass a tripod / slider for panning and slider-like shots), and use the 12-32mm or the 14-42mm with a VariND for daylight shots, and the 14mm 2.5 and the 20mm 1.7 for indoor shots. Probably will use the GX85 for stills too, planning to get Xume magnetic adapters to fast removal of the variND filter. My questions are somewhat overlapping with the @meanwhile ones, but I will ask them again (pardon for the repeats): - White balance: since we don't have raw, I guess that it is good advice to set the wb manually. The best practice is set the camera in the profile that you will use and set the wb with a gray card, and set again if the lighting changes? Any other procedure needed? - Profiles: liked the Cinelike-D in the GX85 (best hack ever), but it is the best profile for every situation? I guess that I will have 5 scenarios in this trip: daylight landscapes, daylight city streets, indoors (churches, castles, etc), night landscapes and night citty streets. a) I suppose that Cinelike-D is good for the daylight ones, the additional DR is useful to balance the skies and the scenery (mostly buildings). But I saw lots of complaints with it in other cameras reagrding two aspects: noise in the shadows and skin tones - how are your experiences with it? And I'm not versed in grading techniques - no problem in learn that, but I don't know wht is the learning curve... b) For the indoors and night scenes, Cinelike-D is adequate, or the shadow noise becomes a problem? c) If Cinelike-D is not recommended for me (because of use cases / noobism / complicated post processing), which profile and settings do you recommend? d) For Cinelike-D and / or other profiles, how is the base ISO and exposure recommended method? ISO 200 and ETTR? e) Shot a color card (X-Rite or something) is each lighting situation is useful? - Slow motion: would like to make some shots in 1080p60 for slowmo; I know that the GX85's 1080p is somewhat bad, but it is usable? If not, someone tried 4k downscaled + Twixtor or something similar)? And if I put this 1080p60 in a 24fps timeline, will there be some cadence problems? Thanks in advance for any help.

ed, heres a protip: acting like a 5 year old online, under your real name, is a very bad idea. people who might want to hire you based on your good work will start to vet you, and within seconds theylll discover that youre a huge pain in the ass online, and they will wonder: How much worse is he in person? i thought that maybe youd turned over a new leaf. time to grow up dude

It's not political. You can be white, upper middle class and be creative without guilt. Political? It is what you make it. Sometimes political is good. From the outside, what is happening in the US at the moment is shocking. Tribal. What is the photo company? Names!

I don't know what it is, but I give the edge to Fuji. Not that I dislike my 5D, just kinda dig what I get out of this XPro2.

The colors are nice but imo Canons are nicer. What the "fuji look" is for me is noise that is pretty much Luma only. No matter how hard I push.

Hahahahaha. You should just sign out now and end on a high note.

That would explain what happened next then

There's already been an 8K resolution smartphone camera... 41MP Nokia PureView 808 with 1" sensor. The problem for Nikon is twofold... They haven't delivered a compelling innovative camera for enthusiasts... The Df was a disaster. Their enthusiast mirrorless is nowhere. Their lack of dual pixel af a real problem too. Consumers have moved onto phones, but Nikon have showed zero expertise or understanding of the online services and apps market.

1080 on a 4k monitor also looks better than it does on a 1080 monitor.

GH4 4K is well above 1080p, perhaps 3K max (4K*.8), beyond 2.2K (4K*.58) with aliasing. 4K video on a desktop 4K monitor is totally worth it for the quality jump.

Hi Dick, Thank you for looking! I had a tripod and Gitzo carbon monopod on holiday and I liked the monopod the most.

They preferred color & skintones of the F65 vs. Alexa & Red (as a CGI/Green screen heavy film, "True 4K" makes sense too): http://www.fdtimes.com/2014/07/24/luc-bessons-lucy-described-by-thierry-arbogast-afc/ @Ed_David shoots F65.

Try not to mix different brand lenses on the same scene. For narrative films is very important that the image is consistent. There are some lenses you can mix and match but try beforehand. The contrast can be super different let alone the color and the "rendering" of each. What looks close enough in the edit doesn't always looks good on a big screen (if you are thinking film festivals). There is a reason cine lenses are matched sets and have Tstops, cause even if you are on the same settings (iso/aperture/lighting) by changing from 50 to 24 can look so different that you will end up spending hours matching them (if the lenses don't match). And it can happen to you in your most important scene or the most expensive of the production.

Matching with a color checker chart in Resolve makes any difference practically impossible to tell. It's scary how well it works, and it's very quick. The only caveat is that a chart won't account for huge mis-matches of resolution. As for all the other nuances that go into lenses, such as how far the background feels from the subject, the shape of the bokeh, lens flare... nobody's going to notice except internet know-it-alls with too much time, and too little hustle to go make their own films Number of blades and their shape would be one of the most quantifiable ways to match lenses, yes. This will affect the outside shape of the bokeh balls, but not whether or not it looks like an onion with rings in the middle, (and there are a lot of other things that go into the rendering of the out of focus areas than aperture blades) ... and it will have an effect on flare, but not the color.

I think you may see the Sigma mount version being bundled with the SD Quattro before too long. The current SD Quattro c/w 30mm 1.4 ART bundle is around £800 so with the 18-35mm being £280 more retail than the 30mm 1.4 then £999 would seem right as a bundle.

There is a 10 page argument about it (without a single photograph) here if you've got the patience for it. https://***URL removed***/forums/thread/3650127 Meanwhile.... I took a couple of shots for you at ISO400 on my DP0 which is the fixed 14mm version of the SD sensor. The DR issue (as hotly debated in parts of the DPR thread) is one that partly comes down to what can be measured and what you can use based on what you can do with it in Sigma's RAW editor. The RAW editor gets a lot of abuse (and not without foundation it has to be said when compared to stuff like Lightroom and Aperture) but its not dramatically worse than Hasselblad's Phocus app for example but at least you can open their files in something else, unlike Sigma's. Well, you have the DNG option now in the Quattro range and there is a freeware app who's name escapes me that can open the .X3F files but Sigma's open app is the key to getting the absolute best out of the files as they're the gatekeepers of the Foveon voodoo! Yes, its slow, but so is the pace of photography you will largely do with these cameras so its no big deal to me. Its not like I'm dealing with a DSLR where I've been machine gunning my way round a sports field and its more akin to film photography where you come home with a couple of rolls of 36 exposures. Anyway, so here is an illustration that I shot for you (at ISO400) to show you what's possible DR wise and the key to this is the X3 Fill Light function which will bring back a ton of shadow information so you know you can ETTR and recover usable info The top picture is the JPEG from the camera to show how it was shot and the bottom one is after using the X3 Fill Light. . Next is a comparison between ISO200 and ISO400 as I needed a coffee after looking at those old ruins (what do you mean, I see one in the mirror every day). With the Quattros, the native ISO is 100 and AFAIK there is a drop from 100 to 200 but its not so marked between 200 and 400. Basically, once you've taken the hit by moving away from 100 then you might as well take the extra shutter speed/aperture opportunities on offer by shooting at 400 Top picture is ISO200 and bottom is ISO400 with 100% crops from each to show the untreated noise in both. This final one as a way of comparison between the current and previous generations is from my DP1m which is the fixed 19mm lens compact with the Merrill sensor. The native ISO on the Merrill versions is ISO200 rather than ISO100 and as with the Quattro's you can shoot ETTR (as per the original shot top left) and the use the X3 Fill Light function to bring out the shadows (top right) and then take it from there to do more colour work or black and white conversion. If anyone wants to have a play with it themselves then I've put the original .X3F file here and you can then go over to Sigma's site and download their SPP software to edit it with. https://mega.nz/#!BiYwRCQZ!1725R1XDQlhRPliyTdnpusi3rqspEWirIvByYqvA-tI As everyone says, these cameras have as many quirks and limitations as they do different models but if you're prepared to accept them then you're getting a hell of a lot in a compact form and price. I started off with the DP2m and if I had to have just one then I think that is the sweet spot for me in terms of size, focal length (stitched comps for faux wide angle are great from it) and price. Well, price is only ok for now until @Mattias Burling does one his reviews on it

Dirty and not very scientific test. 4k 24fps and 1/50ss. Lens is Leica 12-60mm. With and without Dual Ibis 2.(e-stabilization not used in this test) Sandisk Extreme Pro 95MB/s. Almost repeating same movement with the Bescor Pan/tilt head. Jitter is very noticeable at longer focals lenght. Now i think IBIS is really awesome with erractic movements, and little shakes (like handheld walking shoot) but not for slow and linear moves like pans. Probably jitter when panning is due sensor moving in the same direction to the camera pan, trying to compensate, then can´t go further and came to the center, and then to the same direction again and back to the center again. several times per second, and making a worse image. Hope it help.

Don't worry about the codec on the E-M1 II, it's very good. Minor differences between that and the superior 10bit on the GH5. And that price is very good indeed. The flat profile can actually be graded quite a lot before it falls apart. I should get my GH5 vs E-M1 II comparison shootout article and footage out, it's been a while and I haven't got round to it!

some small update ;-) just put a smal clip together what do you guys think? spread the word :D cheers janosch