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uh oh

Whether he had a raw video hack or not, the way this thread devolved into a vehicle for bitter cynicism under the subtext of truth-seeking is quite something.

What a colossal fuck up of self-fulfilling prophecies. And the blame should be shared by every one. This never should have been preannounced. He never should have named a surrogate to speak for him, especially since the surrogate admittedly knew only a little more than we did and is fairly new to the forum. If anything, he should have taken this to Andrew Reid before bringing it to anyone else. And we all probably should have given the kid the benefit of the doubt... at least for a coupl of days. But grand claims require grand proof and instead of providing adequate proof, he got angry and defensive. But at the end of the day... who gives a shit what some nerds on a forum think or say?

Clear zoom works great. It is for both video and Jpeg stills but doesn't work in RAW. I have it set to turn on (A7s) via the down button and then use the left/right buttons to zoom in and out. It is virtually lossless variable zoom to 2x (you can also use variable digital zoom which goes to 4x but above 2x, it does start getting lossy and especially as you get to 4x). If you start with a decent lens you keep a decent lens and (for example) ANY 50mm prime zoomed to 90mm (1.8x clearzoom) is going to be better than 90mm on my worst Canon zoom optically but lenses like the Sony Zeiss 55 1.8 zoomed leave it for dead (an old 28-90 EF kit lens). It turns a lens like my Canon 17mm f4 L TS-E into a 17-34 tilt shift zoom but also works great with fast longer lenses too. M43 has its ETC which works very well but to date at least none have been variable and they are more like fixed teleconverters (1.4x or 2x I think) than "zooms" like Sony has. As for lenses, I have used a few across systems and some I liked on both M43 and FF E mount are the old Tamron 300 2.8 adaptall manual focus lens, the Canon EF 135 f2 L, an old EF 100-300 5.6 L (an old lens that focused slowly on my first gen A7 cameras but was still ok and was fast AF on my M43 camera and Kipon adapter- AFS only), and a Sigma 150 2.8 APO macro (plays up on Sony but works ok for MF as well as fast AF on M43) and a EF 100 f2. FD lenses I liked on both systems include the 80-200 f4 L, FD 50 1.2 L, and FD 85 1.2 L. I have cut right back lately though so only have the 300 2.8 (followed me across several systems) , Sigma 150 2.8, and FD 85 1.2 L (though is a bit sick and needing a fix but since getting an FE 85 1.8, just isn't needed now).

I have lately been experimenting with video capture settings on the NX1 and I have been exploring a method of increasing dynamic range which I don't think has yet been touched upon. It's really no big deal and I am not making any great claims but it may be of interest to some so I produced a quick video How-To. Take is as fun, I have done very little real-world testing and it may be of little use, but over to you.

Testing outside using the new profile, it's very overcast here at the moment, I found my self switching between negative 1.0 and 1.3, but compared to the same scene with Picture Wizard off there is more dynamic range. Also there is at least 1 stop more to be gained which could prove invaluable in failing light. I hope that you test this and share your results. I have not tried adjusting any other settings which I have left at standard. This may also work for the gamma DR profile as well, more tests are needed. I will be using this profile for the next few weeks just to see if it is reliable.

I'm not sure 10bit vs 8bit is necessarily a factor for DR. It could be, but I think how the manufacturer implements the codec is more important. It does make a difference for color information and how rapidly footage falls apart while editing in post. If you look at the footage from the 8-bit codec from the Canon C200, it has DR that's definitely better than the GH5/s and Sony mirrorless cameras @8 bit, so there are other factors at play. Sony's 8-bit SLOG-2 footage holds together better than Panasonic's 8-bit VLOG-L. I would never use VLOG-L @8-bit, only at 10-bit. Yet SLOG-2 edits quite well with only 8-bits. (SLOG3 is a different story. I'm not sure why Sony even puts SLOG-3 on 8-bit codec cameras.) You really have to try out each camera's codecs to see how well they handle post-editing and DR. DpReview is attempting to test camera's codec performance. The industry really needs a comprehensive test that compares these cameras fairly on a level playing field.

Thanks! Think 1950s sci fi B movie by way of the Coen Bros.

Last year I posted a short highlight reel of Watkins Glen Vintage racing footage. This is an extended cut with no music, only engine sounds. Enjoy: all GH5 with mostly the sir magic 25mm .95 A few wide shots with the Olympus 12mm.

It reminded me of a spot I did recently. This is the Micro w/SB, Sig 18-35mm, Hoya ProND. I think your actor may have been calling mine

Yeah, it is a pretty great compliment to it especially if you're down resing the UM to 1080 which is the case with most delivery in my world. The 60p is a big plus but it's also the new processing that get's that much more our of the sensor - and the sensor tweaking done for the BMMCC. With skin tones it skews a bit green compared with the Pocket - an easy tweak in post and there's a great LUT that we use with the Micro that gives it a great starting point. Amazing little camera that is still way beyond any DSLR/mirrorless from Sony /Panny etc. for solid HD look, DR, color and grading. Great looking shot. What sets the BM look apart IMO. What was your lens for this?

I didn't mean to say that nobody should care about what anyone else thinks. I think reading opinions about new functions and technologies are as interesting as the next guy. Idk, I' I have never and will never buy a camera I haven't held in my hands first. Happy to hear you don't need to. Looking forward to hearing your impressions on the X-H1. Looks like a great camera to me!

I downloaded the "original". It is a 15 Mbps file! Junk. This is not what the camera produces internally (50Mbps XAVC S). I will upload to Vimeo later both 50Mbps internal HD XAVC S Slog2 and 4K Slog2 ProRes video clips, not processed. Report MediaInfo.txt

The theory is that its this one. Based on the specs, it would add up. https://www.sony-semicon.co.jp/products_en/new_pro/may_2017/imx294cjk_e.html It is also used in astronomy cameras as well so there does in theory exist a way to make your own very ghetto 4K raw C mount camera system by attaching it to a high end windows tablet. As the module is quite small, it wouldn't be too dissimilar conceptually to what is being shown on this thread attaching the RX0 to an Atomos. Not dissimilar prices either. https://www.firstlightoptics.com/zwo-cameras/zwo-asi-294mc-usb-30-colour-camera.html Someone has done a video here

Yeah I have no clue why there is not one Really good 5" recorder. They all seem to be 7". They are stupid to use for Mirrorless cameras.

Damn nice write up noone. Out of likes.

they are not coming with anything, this rumor is based on the rumors we have mentioned here already. It is amazing in the era of social media and "always-on-line" how rumors and fake news travel, and become a reality! IF, and I say, IF ever try to make an NX2, I am sure it will be the most heavy spec-ed and future proof camera ever built!

1. We all know this. You shoot in Slog2/SGamut and in post you convert to HLG/REC202. HLG is a delivery format. I could just as well have produced an HDR10 video, but the HLG format is more compatible with REC709 viewers. And, no, the Sony FS5 also shoots in HLG as well as the AX700 and its Pro variants. 2. And, where is your info on 2.? Another use, not hypothetical:

In posted example? Somewhere at the end, around 8 min and after, night sky completely dance with noise... but DBounce called attention that it is base v-log ungraded footage, so that after grading noise disappear...

Where are you seeing the noise? It's surprisingly very clean from what I've experienced. Especially at the native ISOs.

Looks like the Moon Dog Labs lens.

This is the "Samsung Galaxy NX" from June 2013 with Android 4.2 Jelly Bean. http://www.samsung.com/global/microsite/galaxycamera/nx/

Stick the camera on your head, have an HDMI cable running over your shoulder and into a bag on your back, monitor in the bag inside some kind of padded box to protect it? It might get a little warm I suppose, but it would work. It also depends what you use an action camera for. If it's to film inside a car, then you can put the recorder in a number of places to keep it safe and out the way. If it's for surfing, then... don't do this.

The DPreview had tested the GH5S,and its DR is around 11.3EV，quite the same as the A7RIII(which is limited by its bit) It looks like 10bit won't help carrying out all the DR？

Yeah nobody is going to say Fuji doesn't have their Color Science right LoL.Even me. Jesus just too many good options out as of late. If you had some glass for one would be hard to turn it down. I am still not sold to start from scratch for a APSC system. And for Photo stuff I Need good AF. But I have no clue how good it is for that. I know in video it could be a lot better, but same with the GH5.

Panasonic DVX200 I had to call my friend (who found it for me to borrow + helped me with lighting) to ask. Yes, complete amateur here, ladies and germs, haha. I will post it along with notes on the steps of the production and my thoughts on where I think I did well and where I failed miserably considering it's my first try making anything video xD

who are you calling a nerd, geek?

https://www.atomos.com/cameras/sony-rx0

Just for you.

Well, my pet D50 has a CCD sensor and is about the same for DR at ISO 400 as the A7s is at ISO 6400 (and the difference is greater beyond that). Still, the D50 has a flash sync with a dumb flash at 1/2000 and the Sony (or any other camera I have had) can not do that.

@kidzrevil Yes, I'm approaching that "problem" from the side of history of art - for a pretty long time studying works, reading (and writing) essays about painters and their oeuvres... BTW From my little theory about Fuji's color scheme should be such outcome - that usual subjects of your signature shots will not be so beneficially distinctive in rendering because of darker skin tones.

According to foreign media reports, it is reported that Samsung will launch an NX2 anti-retro camera. Although it was said that it would withdraw from the camera field, it actually stopped sales in Europe and the United States, and this camera is only sold in South Korea. Although Samsung closed the camera division and handed everything to the mobile phone division, the non-reverse camera will be equipped with an Exynos 9810 processor. Yes, you read it correctly. This is the same model used on the Samsung Galaxy S9 and Galaxy S9+ smartphones. It allows Samsung NX2 to support 4K video in 120 frames and H.265 encoding format. The form factor is...hmmm. And that OS looks like an older version of Android. And apps?

@kidzrevil Very likely... but it opens, I think, some other relevant topics for thinking and discussion... One could be, maybe: how similar - or, quite contrary, maybe in fact not - are Canon's and Fuji's color schemes... or, maybe it has to be firstly defined what is "pleasing" and if that notion could be universally accepted, etc. Actually, I'd like so much if here could be more discussions or reviews about personal analytic observations of that kind... how and why someone find some color scheme being more "cinematic", what concrete details and aspects find distinctive or so... in other words, I'm here interesting for learning and widening my perception. Personally, although actually I'm in love with colors in general so equally positively curious for every choice of manufacturer's contribution - I'm little bit struggling with application of Fuji's chosen color scheme for longer shots... as with too long exposure to intensive beauty of Burn-Jones canvases BTW very interesting sentence - "How the camera sees color sucks in comparison to how we remember color" - I'll think about that formulation.

This video concludes some clue of my thinking about "color science"... isn't it actually some sort of predefined color grading? Above of all questions about Fuji I was/am interested (of course) in phenomenon of its unique color. So, after inspecting samples, I think that, roughly speaking, there's always some color amplification/saturation precisely at the areas of color and tones around spectre of lighter complexion skin - and, proportionally, muted color in darker or equally precisely predefined color-oposite areas... That's make impression of pop-ing humans from background - as it were always made secondary corrections involving just that areas of color... When in the scene there's no similar distribution of tonal contrast, for my eye at least Fuji lose its distinctive uniqueness of "look" - to the level that low light scene are least distinguishable from comparative shots of other cameras... Especially in this example, it could be nicely seen (I think) because of many changing light conditions where "secondary-corecting-favorized" area disapeared. Moreover, here we have competing area of similar or identical color in background, so pop-ing impression is lowered... In a word: I came to (maybe interesting or bizarre) conclusion - that Fuji's subtle-contrasting color science is tempered as with the role-model of some prominent Pre-Raphaelite painters in mind, with similar technique used for making impression of slightly inner illumination: Edward Burn Jones before all...

By 1st April 2022, I will release a hack whereby you will be able to shoot 5k RAW on you Mavic Air. I am sharing this pic. I don't know what's it's got to do with the 5k hack, but honestly, who cares.

For me, the absolute minimum is the Focus right now, anything less is just not a very good buy. For that price (100$ more than cheap ones) is a steal.

It reminded me of this

@lucabutera I understand...I still will NOT put out something NOT corresponding to my personal criteria. So, be patient, please. As I understand, you are impatient, I will send you an (crippled) DNG example from an early release from last year. I will post it tomorrow afternoon, so you could get a first idea about my work. @All Stop bashing, insulting and any other conspiracy theory, you ALL will eat your words. It's fine and normal to be sceptical...But after reading some postings of this thread, you will come to the conclusion of "lynch mob". As said, NOW I do this for my integrity in the eyes of people knowing my identity. That's all. My interest in sharing my EXPERIENCE and HowTo is completely gone. Cheers

Not sure what they do, I never visit that sinkhole. xD _ But on the topic of lenses... the new Huawei (Leica partnership) P20 Pro has 4 of 'em (rear 3 cam combines to a Vario-Summilux-H1 27-80mm f/1.6-2.4 ASPH.), sensor size = 1/1.78" which is quite huge for a smartphone (that's not a CM1 or something). https://consumer.huawei.com/en/phones/p20-pro/ Official launch was earlier this afternoon. Incredible piece of kit if you ask me. It leaps ahead of the first closest thing from Samsung with a whopping 10 extra DxOMark points: https://www.dxomark.com/huawei-p20-pro-camera-review-innovative-technologies-outstanding-results/ ... who conclude that it's a game changer. Curious to find out what it's like for video. It does do 960fps slowmo (720p) and AIS (they find EIS/OIS doesn't quite work, but when you use AI, you can get much better results) and AF seems impressive. Guess we'll find out!

FWIW, I received a questionnaire from Sony, as an A7s ii owner, last week on the features I would like to see added to the A7s ii (along with questions on what I used the camera for etc.). This would suggest that they are at least considering a successor, but it would seem a long way off. I also received a similar questionnaire on the FS5 recently, another camera due for an upgrade.

It's definitely S-gamut. This is just with Color Space Transform and a little gain applied. Also love the look your getting here.