Leaderboard

Typical Sony Skin Tones Grading Session: 1. Pull towards magenta. 2. Pull back to green. 3. Pull a bit more back to magenta. 4. A little nudge towards green. 5. Slight more magenta. 6. Increment of green. 7. Too magenta, or too green? 8. Arrgh sod it, looks good enough. The A6500 has the best skin tones at the lower end. FS7 and F55 and barely any different. The issue I've found is mostly the suspect white balance on Sony consumer cameras. Doesn't work as expected. This causes crap looking footage uploaded to Vimeo. On the VENICE, it looks like if you press button on it, a building nearby will explode.

Right? Sony colors are the worst! So gross. Look at this grossness: Or this disgusting s***: This makes me want to puke: I mean, how can you even think this looks like real skin??:

http://www.newsshooter.com/2017/09/06/sony-unveils-venice-36x24mm-full-frame-digital-motion-picture-camera-system/ "the camera’s lens mount can also be changed to E-mount (lever lock type), which opens up a lot more options for using a wide variety of lenses." Today marks the end of Sony's FZ mount :-( As a Sony F3 owner it makes me a little sad :-/ But I'm not too surprised (& the FS7mk2 was a small hint), as I half expected this day to arrive eventually. This does make Panasonic look even more dumb now, because they didn't announce their EVA1 with a locking MFT mount. (As heck, Sony can put E mount into their highest of high end cameras!!) "The Sony VENICE CineAlta digital motion picture camera system is scheduled to be available in February 2018. No pricing information was given on release." Reckon I'll be able to afford it with what I find down the back of the couch?

The thing is Magic Lantern's option for 8bit RAW at ISO 6400 makes perfect sense as the sensor isn't delivering more than 8 stops dynamic range at that ISO any way So to cut the data rate and save some card space in low light it is a good option.

Perfect isn't an option all the time... Nature doesn't always give you perfect lighting. If a controlled interior scene is lit for the narrower dynamic range of a Rec.709 8bit image you can get it looking good, as the guys with the GH2 showed in the famous Zacuto shootout that had Francis Ford Coppola fooled. If you try to pack too much dynamic range into the frame then colour is going to suffer with 8bit. That is why the 1D C has good colour but not 14 stops DR And it is why 14 stops DR in S-LOG doesn't have good colour And it is also why Canon LOG on the 1D C never quite regains the punch of the standard picture profiles if you want to keep your extra highlights and shadows intact. It is all the fault of 8bit. I foresee BIG gains for Sony colour if they do the entire imaging pipeline 14bit -> 10bit on a future A7S3, along with the improvements to the colour science evident from the A9's JPEGs. Isn't that what I am saying? Well there's lossless compression which means you don't lose any visual information, the structure of the file changes, but the end result is the same. Compression can be lossy... meaning you throw stuff away in the image. LOG is lossy in 8bit, you are throwing away fine gradation and colour information to make room for more dynamic range. Honestly it's easy to see When you tweak the shadows and highlights in 10bit RAW on the 5D Mark III it maintains the natural, realistic still-life look of the shot, smooth roll off between two subtle tones in the shadows like a dusk sky and the street... whereas in 8bit on a lossy camera it turns to Digital Sick™

If you are careful you can manually do a vertical or horizontal pan with a shift lens. One thing to avoid with shift lenses and video is moving the camera - panning while having a lots of shift as the aparent movement in the shifted corners can be quite excessive. They are best used for locked off shots. Also If your clients are architects they won't understand a world that is not in 2 point perspective............

Now Ive peeped them on the calibrated Eizo. Scarlet looks nice but not lovely, some green stuff. Tom looks dying. George looks great. Undecided on the bear tones.

That is because on one hand you have color professionals and on the other people that don't even know how to use picture profiles. Once you know what you are doing, PP offer the most flexibility in terms of color in any consumer camera.

But then the comedy would be lost!

I will be uploading some of the original ProRes clips and Cinema DNGs. They amount you can push them in post without them falling apart is incredible.

Available now! The new EOSHD 5D Mark III 3.5K RAW Shooter's Guide With the new Magic Lantern experimental build for the 5D Mark III, we have an amazing 3.5K 10bit lossless raw mode with Super 35mm continuous recording. Read the full article

Not exactly underexpose by default but some underexposure techniques can help. As for instance, from what I've seen the GH5 footage can really shine especially if you have the highlights under control... What about your two cents?

Don't know about that, I find rocks far more stable About 10^-12 fps.

Everything is a tool. If your style dictates IBIS, gimbal moves and the such, great. I remember a few years ago sliders was the thing, then drones, now gimbals, tomorrow IBIS (because it is not implemented on the bulk of the cameras out there, yet), in a week, maybe cranes controlled by your Samsung's S10+. Everything is a tool, and can be used accordingly, and at the will of the creator, but the tripod was the first, and probably will be the last filming tool. Hopefully someone will be the pioneer here and buy this Sachtler, and live to tell the experience.

Agreed, and Fuji has already said as much. The smart move for them is to strengthen the GFX line, improve AF and video, and bring body costs down more to entice FF shooters to switch.

Time to decide on a 35mm. (It took me about 1min to decide on the f1.4 over the f2.0. Which I didn't expect. But I will give both a good run for their money before selling one.)

Now officially released. https://www.blackmagicdesign.com/products/davinciresolve/

What's your current personal camera nowadays?

I overheard Robert Yeoman at Camerimage last year saying that if he could shoot 16mm the rest of his life he would be happy.

Leica Q does say Made in Germany on it! They do the chassis and assemble the pieces. The lens, sensor, image processor, firmware, EVF and screen are from the Panasonic side. I dare say the entire lens is constructed in Japan too. I like this, as I like Panasonic... Does not take away from the Leica badge. It is a unique camera, not available for cheaper from anyone else. Nobody else does the same thing. The original Sony RX1R is closest... But nowhere near the same ergonomically, feels more cramped, no built in EVF and not a 28mm. The RX1R II feels very different too, both in the look and in terms of the ergonomics. The eye to the popup viewfinder hurts after a bit. Q is much more comfortable. I badly want a interchangeable lens version of it.

Yes but that DR is at the expense of something else.... Which is what I am telling you guys all along!

December is a strange one, don't know why they are so slow! Maybe the other stuff is holding up 4K, like getting the autofocus tracking to finally work properly But thank you Fuji for giving us this rare gift. It is the first time in the camera industry that 4K has been added with a firmware update. Such a dramatic leap in quality from just firmware Just shows they are playing us for idiots most of the time... as the 5D Mk III shows also! The X-Pro 2 is my favourite fuji camera... So I will be selling my X-T2 and X-T20. This firmware update has saved me a lot of money

But 8bit IS itself lossy data compression. Look at the difference between 8bit raw and 14bit raw in terms of dynamic range. 10bit is very important as an acquisition format If your capture format is 8bit from the sensor to the card then you are losing dynamic range. The only reason an 8bit JPEG works is because all the image processing is done in 14bit and the sensor is 14bit As a delivery format on our screens, 8bit works ok (although there is a reason HDR displays need 10bit)... but the capture can benefit from 10bit and higher... for more dynamic range, less compression and better colour. The reason so many people can't tell the difference between 8bit and 10bit is they are both so heavily compressed or hacked down on cameras like the FS5.

10 bit won't give you a dynamic range improvement - 8 or 10 bit is the output file bit depth. A camera can have a 14+ stop DR and output this into an 8 bit jpeg image that will look very good - anybody who is working with in stills with RAW capture can tell you this esp if they have a good MF digital back which are even 16 bit capture and you can create absolutely stunning 8bit output files full of subtle graduations in tone and colour that you can only dream of with a DSLR. 8 bit is absolutely fine as an output file .................as long as you nail everything in camera and your cameras internal processing engine isn't compressing the hell out of the image and throwing away image data which unfortunately with internal codecs which are designed for broadcast and not storage it certainly is. Massive lossy data compression is the enemy we are up against - 8 vs 10 bit output is a red herring IMO. The ML RAW hack simply removes this obstacle and the benefits are clear to see.

Word. Am jazzed about this and can't wait until December - my favourite tool just became even more useful.

Ok I take on the challenge. I'll shoot 10bit GH5 and compare it to 8bit GH4 And I'll shoot some more 10bit RAW on the 5D Mark III and compare it to 8bit 4K on the Sony cameras. I thought Blackmagic already showed that 10bit was superior... Problem was maybe their sensors were a bit behind, so shadows were a bit noisier and so on, compared to an A7S or the like.

There's a lot of misinformation out there because there's a lot of fake 10bit. The whole camera, colour processing, colour profiles, image pipeline and codec need to be built around 10bit for it to be an advantage, like on the GH5, or in raw on the 5D Mark III with Magic Lantern (where the colour profiles and image processing is done in POST, bypassing the camera's 8bit processing limitations). The 10bit GH5 Rec.709 image is night and day better than the GH4 10bit HDMI output. And don't get me started on 8bit "uncompressed" HDMI... It is compressed as hell! No point in recording it. Especially not as 10bit ProRes.

You're not quite understanding the way the hardware works Jimmy. The sensor delivers that 3840 pixel wide image under the normal Canon firmware, every time you hit the focus magnification button and it's capable of sensor windowing with any full pixel readout crop of the full frame sensor, like 3.5K, 3.3K, 2K, whatever you like. Magic Lantern are extracting the existing capability of the camera within the normal spec and clock speeds of the hardware, they are not running it at full capacity or increasing clock speeds. That 3.5K image goes into the buffer as normal and then Magic Lantern take it from there and put it onto the card. The only heat increases come from a harder working card and battery due to the data rates. The processor and sensor do not get 'worked at breakneck speed'. In fact the processor is relaxing if anything because it doesn't need to think about compression or H.264. The only reason the live-view isn't as nice as in the normal 1080p mode, is that Canon's code is designed to show the 5x punched in display for focus checking, so Magic Lantern had to hack it to give us accurate framing for the entire resolution, which is very difficult as they lack any kind of documentation from Canon or an SDK to tailor camera operation to their choosing. The hardware is 100% capable of 4K video and likely with the same MJPEG codec as the 5D Mk IV and 1D C. The reason it is not in there is due to marketing. They wanted to reserve the feature for the 1D C and target the 5D3 predominantly at a stills audience and consumer crowd for whom 4K would be somewhat overkill or wasted and result in more support costs, distracted focus in the marketing messages, confusion on the shop floor, etc. The 5D3 also wasn't allowed to compete against any of the pro Cinema EOS cameras which were fresh on the market at the time it was released, because the margins would be much greater on these cameras and video shooters should not have been tempted by something cheaper offering such a recording high spec... That's another reason the 1D C cost $15,000 on release. Plenty of compact flash cards in 2012 were fast enough for MJPEG 4K, otherwise they wouldn't have released the 1D C the same year doing MJPEG 4K to compact flash cards. You talk like the cards didn't even exist or would drop frames. Also in 3.5K there are no dropped frames or occasional messed up frames, it is continuous recording with perfect image quality, like you see in my video. Sometimes a clip may stop due to the data rate being on the limit of the card, but there are no corrupt frames...and we always did have these occasional stoppages with the original uncompressed 14bit 1080p as well... that didn't stop a ton of AMAZING work being shot with it. For many things, shorter takes are enough. And if you want longer ones just decrease the resolution slightly and shoot 10bit lossless instead of 12bit. 10bit has more advantages than just less banding my friend In rec.709 your dynamic range is limited in 8bit because you simply run out of room. We know the look that comes with trying to compress more dynamic range into a rec.709 8bit, colour suffers, it looks like HDR puke. That's because with 0-255 you have regions of large variation in brightness crammed into the last 5 or 10 shades, so things like a sky looks like crap, no accurate colours in it. LOG is a way around this to a certain extent but is also a form of compression The reason the rec.709 image looks so good on the GH5 is the entire image processing pipeline is 10bit this time round... things have room to breathe and when you do bring up the blacks or pull down the highlights there's 100x more information in there and they don't fall apart. So in short, 10bit = more dynamic range, especially on a 10bit HDR display using Hybrid Log Gamma. That's why the HDR standards all demand 10bit or more. Dynamic range! Also 10bit raw = more dynamic range, plus more control over colour and white balance as it isn't baked in. Also lossless compression = 50% smaller file sizes with no loss of visual quality, so it is almost like having uncompressed raw, rather than compressed H.264 10bit. In addition the bump to 12bit and 14bit on the 5D3 with Magic Lantern gets you a bit more dynamic range, but close to the ceiling of the sensor. I'd say the image quality at 10bit is very close to 14bit... 12bit even closer as to makes barely any difference. 14bit has a bit more accuracy in the highlights. Shadows still look AMAZING in 10bit, like the Blackmagic raw cinema cameras but less noisy.

I am out for more likes today. Very nice! What's the camera?

Where? (Because I know you don't mean the video I posted since it wasn't even shot with an X-Pro2. And it was obviously just some quick clips without an ND made for fun. I was planning on using my smartphone for it... and that would have been good enough. Hardly a reference for video quality imo. The stills in the video on the other hand look f..ing amazing, so you cant mean them. And Ive never been able to get anything as good looking from a Panasonic. If the GH5 is a video camera with still capabilities as an after thought.. well.. then why have they designed it as a stills camera.. what a waste.)

I will let mine rest.. because its empty... new Sigma coming today

Just when my wallet thought it was in for a nice long rest.

The FS5 - FS7 cannot produce what the CineAlta can produce. I wish the FS7 had the F3 color. I own the F3 and love it, but have yet to see any FS7 footage that I have really liked. This is more like what an average person actually gest with the FS5 and FS7. I remember my studio going from the FS700/7Q S-Log 2 to the C300ii. The difference in color is absolutely insane. I would do HSL adjustments, tons of masks, etc, still couldn't get close to what the Canon can produce with just a LUT and a quick three way adjustment.

I want to like your post @jcs but I also don't want to ruin your triple 8 rep Hmmm... This is where it gets subjective. I'm looking at them on a calibrated monitor, and they all look great to me. Weird. Mine have been rock solid. I doubt they'd hold up like my 5D3 though... that baby was submerged in the Pacific ocean briefly, died (canon service center pronounced it dead), and on the third day came back to life! Not even joking.

Cue all the comments about how terrible Sony's skin tones are and how unusable SLog is

Lol. "Remember to vote sept 12th!"- is this part of your campaign?

If I may embellish. I suspect many people are confused about 10-bit video. When we look at a colors on our 8-bit screen we're looking at 256 shades of each primary color, R,G,B. The dynamic range is generally around 6 EV between darkest and brightest. In 10-bit compressed video, like that of the GH5, We have 1,024 shades of colors, but STILL IN THAT 6 EV dyamic range. What this means is that if you shoot a wide DR shot of the sky and some people under and umbrella, you can't bring back more detail from the clouds in 10-bit then you could in 8-bit. The only real benefit of 10-bit compressed video, that I could see, is banding where there are fine gradations of color. And that benefit, is almost impossible to see in a moving image. In 10-bit DNGs, that Andrew is mentioning above, you're getting 1,024 shades OUTSIDE that 6 EV gamut, so you can recovered highlights or shadows. If all ML did was get 10-bit RAW to work on the 5DIII, that alone, is worth the guide right there!!! As soon as they port this stuff to the 7D I'll buy that guide immediately!

Your mug shot racked up so much screen time I thought you were going to try and beat Philip Bloom's record!! Throw a GH2 in there next time, I am sure it will beat the F65 on the shirt test given the right light

And a side by side next to an iPhone

If only we could speedboost! @Brian Caldwell Internal speedbooster: go!

Apart from the fact that the small sensor makes the OP's existing wide shift lenses near useless.........

I don't think they are getting made anymore now that there is TERRA 6K, 5K and now even 4K. Which also makes a lot more sense. Only problem is that they are a Chinese company with crappy communication and support.

Pictures of the new X-E3 and the new lenses leaked. Think it has 4K, could be something to use as a travel hybrid or B-Cam. Maybe @mercer wants it Sadly no image of an X80, guess it wont happen. Still excited for the new Firmware. http://www.fujirumors.com/fujifilm-x-e3-xf80mm-macro-gf-45mm-images-price-yen-leaked/

Hey Nikkor, it's a suspense thriller about a man who comes home after spending some time in a mental hospital. The familiar people and places begin to dislodge hauntingly, faint memories of his dead girlfriend but the visions seem real and vengeful. It's kind of a mixture between a classic English ghost story and Japanese horror.

Here are a few more screengrabs from my film. The first one is with the Canon 24-70mm f/4... And the second is with the Canon 35mm f/2... Haha, in the first one, the actor looks like he is shaking his head that I am posting these grabs... lol.

Yes, going to be good for warp stabiliser. With Dual IS, 5 axis IBIS and Warp, maybe we won't need that £1000 tripod Flowtech 75 after all

I rebought the 28mm 2.8 and I love how sharp it is on the G7 with focal reducer: 2.8 5.6 I'm loving this lens too. It's a little soft wide open (almost looks like you have a light pro mist or something) but not bad. This is a video I just shot on the G7 with the RMC Tokina 17mm 3.5 + focal reducer: It's shot at mostly 5.6 until the slow motion shots. The rest is wide open.

Didn't read every posting in this thread, so maybe this was already covered. I mean the part about EditReady. There is a much more powerful tool that does a lot more. It's called Kyno. A beta version for Windows (free) is announced. Didn't look too spectacular to me initially, but now I've bought it, and I think it's fantastic. Plays all* media (you can filter by video, audio and stills), dives trough folder structures (called drilldown-mode), allows to import, trim (> subclip), batch-rename, tag (Premiere: mark), transcode, wrap and copy directly from card. Allows to send data bases to FCP (shift cmd f) and Premiere (shift cmd p). *well, no raw video for now, they're working on it.

Well, I guess his unit is not better than yours... : D Here's another interesting GH5 sample on something we're used to see from much more bucks than 2 mere grands: To me and... really, there's no other similar offer. End of story.

My issue with Resolve has always been performance. I love the editing workflow, both for video and for audio, but It still can't handle the H.264 files any of the slightly lower end Panasonic cameras like my G85 spits out. Editing chokes and it crashes randomly. Rendering times are absurd. I think this is because it doesn't to do GPU acceleration properly, at least on my R9 290. Compare this to Sony Vegas which is as smooth as butter and renders files in around 1/4 of the time. I know it's meant for "pro's" and not designed for "consumer workflows" and "you should spend two days transcoding all your files before editing them" and all sorts of other elitist garbage.