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Rokinons are flimsy plastic lenses with glass ranging from okay to mediocre. I'll use them if they're all that's available, but they're right near the bottom of my list. I know I'm a broken record on this, but Leica R, Contax Zeiss, Minolta Rokkor (converted to EF), and Voigtlander lenses will provide superior image quality, smooth mechanics, and the ability to travel with you to all future cameras. Won't cost much more either, depending which versions you go with. Rokinons are cinema lenses in name only. They're not optimised mechanically or optically for video, beyond the cheap gearing. Invest in something that'll last.

I see a lot of you have been taken in by this guy. It's sad. Thread closed.

Had a chance to screw around with the SLR Magic Anamorphot Compact on the GH5S over the weekend. Hell of a time pulling focus, just could not make out the screen and left my SmallHD behind as I wanted to keep it as light as possible.

That sounds more like @mercer wish list more than reality LoL. I mean I hope like hell it is true with no big crop in 4k. Canon could Own the prosumer market if they just came out with a camera that is as good as the Sony A7 mk III. It doesn't have to be super groundbreaking, it just has to have 4k in it and not cost 3400 damn dollars. How the hell hard would that be to do. Shit easy as hell. Panasonic has been doing it for years on the cheap. Jesus just make it so. Hell I would buy one tomorrow just for the Colors Science and DPAF. Who the hell wouldn't.

What I remember from days of using BM, is that raw file provide, at least for my eyes, an (important?) bit or two of more clarity in image reproduction. Very likely it is simply sum of all mentioned (indeed minuscule especially in a case of Prores HQ) differences in detail-ness. But - unwilling to be just impressionistic commentator, maybe something similar could be seen in this comparison: Edit: This little distinction imo actually may be crucial for achieving fantastic results of BM cameras as quite close to top cinema cameras... Because it is not matter of artificial sharpening, but of amount of details that BMPCC or BMMCC really can achieve. For examples, in one of the my most favorite clips from BMPCC there's - for me - missing of just that little bit of crispeness that would make experience as naturally stunning-real as from modern theater production

Well presumably there are 2 different tests. Relative dynamic ranges at 'base iso' and relative DR at higher isos (or low light). They are not the same - for instance Canon sensors have much lower DR than Sony sensors at base iso but they are pretty similar at higher isos. The 'Op' seems more interested in relative DR at base iso.

Yeah I'm excited to try this! After that debacle of bullshit fake-raw rumor thread, I'm glad there is at least something new to play with on these cameras. Nice work people!

You could always cine-mod a set of Leica R,Contax Zeiss or Nikkor AIS lenses

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.

I think DR is only one aspect of IQ. You simply cannot look at DR in isolation and ignore everything else. From what I have seen the GH5S represents the best combination of features combined with IQ of any of the currently available hybrid format cameras. Save for large stills it’s a top choice with robust codec, organic footage and forgiving low-light performance.

Really excited for the potential here. I'm going to keep playing with variations on settings, but just doing a quick clip at my desk showed some nasty macroblocking in the shadows that I haven't seen since before I started using the bitrate hack. Can't imagine how bad they'd be if the bitrate was standard. The video shows the same clip OOC and with a basic lut. I think I'm going to play around with RGB values around 1.50 next. Or maybe this is a Master Black Level issue. I generally only shoot with it at +5 and in Gamma DR. Settings: RGB all 1.99 Gamma Control Normal contrast -5, sharpness -10, saturation -1 MB level +15 Bitrate Hack: 140 mbps Lens: 16-50 @ f/2.0 on wide shot, f/2.8 tight iso 1600, 1/50th, UHD

here are some more. Last two have an exposure bump of 2.0 in post.

"Spoiled" for using lenses with no AF, no electronic metering, no stabilization, no PZ or any other motoring control, no connection to the camera e.t.c?! This is the opposite of "spoiled" in my book, especially if you work with a C300mkII and the 18-80, or something like this. Stabilized/super fast DPAF relatively cheap zoom lens with no focus breathing and par focal. You zoom in, you focus, you gold from now on! I am using adapters/speedboosters all the time, for my personal system I want native. I understand why some people (if not, most) would prefer native support in both bodies and lenses, everything is just so easier, a little bit smaller, and lighter. Usually the center of balance is a lot better in native combos and that does matter also. I have a couple of sets of legacy lenses from back then (FD/M42), but I do not use them anymore, only in very small and "experimental" projects. @mkabi assumes that before the 5DmkII (2008-2009) people didn't shoot video, or making short films, or covering weddings/conferences/events/sports, e.t.c!! It is one thing to be young and another to be ignorant. I started working in the 90's, by the way.

From the footage that I have seen out of the C200, I agree. The 8-bit files out of that camera appears to have better DR than the Sony A7 series, Canon 1dx2 and 5DIV, and the GH series of cameras. It's only 8-bit yet it has better DR than a 10-bit file out of the GH series of cameras. Edits very nicely from what I have seen. On a similar note, Dave Dugdale's comparison between the A6500 and the GH5 shows that Sony's 8-bit Slog2 performs (in most cases) as well as Panasonic's 10-bit VLOG-L. No banding in the sky and can it doesn't fall apart in post-editing unless you really push it. You have to believe the manufacturers are all manipulating their codecs so that they don't take away from their higher-end cameras. And this leaves me frustrated at the end of the day because until you run a camera through all of its paces, you can't rely on the specs.

An EF Mount brings millions of lenses to the table. It keeps professional photographers from having to fiddle with adapters or starting from scratch with a new lens line. It could also easily bring back the plethora of Sony users who left Canon for Sony but kept their Canon glass. I have a couple of friends that are pretty serious about video and they only use native lenses. They would rather buy into a different system than use an adapter. And even myself, I’ve only just started using native lenses and I am already tired of adapting my vintage stuff... I’m tired of dozens of adapters lying around. So much so, I am slowly building a small set of Contax Zeiss that I am having modded with Leitax adapters. And once I know for sure that Nikon is introducing a new mount for their mirrorless cameras, I will most likely Leitax my ai-s lenses to EF as well. I actually don’t care if they go Mirrorless, it just seems they will give more video features with a mirrorless cam than they do with their DSLRs. I love using DSLRs. I prefer the form factor and the weight. I get other people like EVFs but I literally only use the LCD screen.

I think MILC users today are expecting strong video features no matter what background they are coming from. ..and "Cine line a big mistake"...?!! Tell that to all the happy EOS Cxxx camera owners out there.. (fwiw i just bought my second C100 two weeks ago!)

here are some zooms (600%) of the above frames. I will get the higher ISO stuff tonight. you can see in the last two frames there appears to be more sharpening happening without picture wizard on. I made sure to leave all picture wizard settings at 0 except the RGB, so I did not turn down sharpness. Interesting.

Wow nice, that has a old school look to it. Great grade.

+2

Here are a few exported frames from 4k video with various exposures and with picture wizard (PW) on or off. Description should be in the file name. and scopes, again description in file name.

I will take some [identical] video with the boost on and off and post up some stills from 4k video as well as screenshots of scopes from premiere.

I will have to give this a try myself :). Who is going to be the first to post 1:1 side by sides to show the NR. My guess is that this trick is not getting any better results out of the sensor but is allowing you to increase the "gain" without increasing the ISO and because the NX1 seems to have some sort of terrible builtin NR that is tied to the ISO level you can avoid this internal NR. Obviously, this is just a guess and I really have no idea lol. Also is there anyone here who is really good with colours / scopes who can confirm none of the channels are clipping because of this boost?

There are few reasons for that. First, different input-output curves can compress different parts of the histogram. For example you can have the same dynamic range from HLG or Slog or even a normal jpeg gamma. Slog3 is also worse than Slog2 because it compresses a huge chunk of the histogram even more. Then you also have the color space. rec709 is a much smaller area than sgammut and in return you get better sampling & tonalities with rec709 that D750 has for the same colors (sky, skin..). Finally, compression (and spatial color undersampling) also affects banding but with the same codec there is not so much of a difference as you get with different color space or gamma. So Slog by itself is not problematic. Even slog with 8bits is fine as long as you don't use the original sgammut. For example, with the slog & 8bits you can get excellent results with no banding if you use a slightly reduced color space such as sgammut3.cine/pro/cinema (which are still much larger than rec709), and boost saturation (without any color clipping of course). The problem is that most Sony users don't know that. Even myself when I first got the A7rII, influenced by all the slog hype I set my camera to slog2/sgammut only to kick myself few weeks later for ruining the footage. Sony has allowed so much flexibility that is great for professionals, but they should have be more careful when explaining all these to the average consumer.

Well this Long article pretty much explains how S log works. This guy knows his stuff. http://www.xdcam-user.com/2014/08/exposing-and-using-slog2-on-the-sony-a7s-part-one-gamma-and-exposure/

Usage of codec inside the camera processing while capturing and outside of computer in delivery process are not the same. Bluray distributed movies often have no more than 20-30 Mbps - do you think that result will be the same if footages had been captured at the same bitrate?

I'm not sure it's a good idea to judge motion cadence by looking at videos that were most likely shot with very high shutter speeds.

Damn.. there does seem to be a ton of stutter / choppyness in the motion in that video. Hopefully someone will do a side-by-side with the A73 vs. the A7R3 or even the R2 at various fps / shutter settings and nail down what is going on here.

Right but I think the test in question from the video was showing the difference in DR from their respective base ISO. So vLog’s base ISO is what... 400? And sLog is 800. So when you go one stop up in ISO with vLog you’re at 800 ISO and one stop up with sLog you’re at 1600 ISO... two stops up with vLog you’re at 1600 ISO and two stops up with sLog you’re at 3200 ISO... etc, etc...

Glenn, ISO will distort the results when directly affects DR per se. Tired or not, he's right on that one : ) hey, I am tired too... it is 3:00 AM over here, Sunday night or Monday morning :)) Same ISO on both devices should be a different story, of course :-)

With linear encoding like in RAW files, the bit depth determines the upper limit of dynamic range. jpeg or log use non linear encoding which can map higher dynamic range in a limited bit depth. Thats how jpegs can typically have ~11 stops of dynamic range and log profiles >12. The problem is that the more you compress the dynamic range of an image into limited bit death, the more you under-sample the color space and the more limited tonalities & increased banding you get. Bitrate has nothing to do with dynamic range.

Yes, I think that is self evident. Take a shot jpeg (8 bit) and raw (14 bit) and you can recover 1 to 2 more stops in raw. Also bit rate will effect DR - I can recover more highlights in a jpeg still than in the more heavily compressed video. These factors would certainly help both the GH5 and X-H1 get closer to A7iii DR in video relative to stills than the sensor size difference might imply.

Regardless, your video has a timelessness to it. 1965 or 2015, who knows or cares? (and Ornette Coleman? cool) Looks awesome as it really doesn't feel like video or film, but something in between.

Szczęśliwy smaczne jajko wielkanocne! (is that close?)

Soon; I have a lot of things to work on first. You'll be hearing from me (as previous) New GHa Daylight VLog + Varicam 35 Lut New GHa Daylight VLog + Varicam 35 Lut

The $249 Z Camera E1 gives you real m43 in a box almost as small, and it does 4K DCI internally.

All shot ProRes, I used micro four third lenses throughout, chiefly the Lumix 24mm 1.4 and a couple of shots with the Olympus pro 12-40mm lens. No filters, no lights, all natural lighting, and no handheld stuff either as it's impossible to get usable stuff like that with the pocket, so everything is tripod mounted with very slow pans. The rig has heft as I use the VF Contineo cage, which is sweet, as if it's an alexa, sadly the company no longer exists, I then rig it up with the Atomos Ninja 2 used as a monitor and everything is balanced with two Sony batteries on an adapter mounted onto a battery plate. In post, I'm more an AFX person, but I did edit it in Premiere and then open it all up in After Effects for grading and titles. where I use a few adjustment layers adding curves and colour correction as I go along. Surprisingly the Audio was recorded off the camera, I hocked up a rode mic, obviously the audio was really unusable and in came Adobe CC Audition, I can't praise it enough, it saved my skin and what you hear is the audio recorded in camera but saved with this incredible software.

I can't say I am convinced with this camera. I am really disappointed by the internal recording quality. They should have downsampled from 4K as in A7s. And unless BM releases a ninja v2 with 4K, recording externally makes it as large as any other camera. The M43 conversion looks interesting but again ~$1400 is too much for this.

Yes you are right. As I said in an earlier post the highlights are actually blown/clipping but at a lower level than 255, even though the scopes appear fine. I believe that the method of lowering the color settings and increasing exposure is failed, BUT in reverse: take color settings to +1.99 and reduce exposure (-1, -1.30) then this proves to have benefits, which you can read from the other posts in this thread. I normally adjust colour as well to be different form standard as I found some colours were just over the top, so sure you can vary them slightly for the same benefit. But I have found that the colours improve when on full +1.99 and I find the colour variance is now not necessary. It may be April Fools day, but think of this as an Easter present, much better than an egg.

That is exactly what happens. You get 1 extra stop which reduces the ISO required for the same exposure and the noise reduces accordingly.

Thus is definitely worth looking at. I've done a few tests in even lighting. Can't say anything about the DR improvement, but it certainly increases exposure by about 1 stop. Someone asked for a boosted max iso hack. So there you go :D Also, maybe there's a chance that it would have a positive effect on noise reduction. Like if the NR kicks in at 2000iso, you could use 1000iso instead for thr same exposure and not get the NR. That's just a thought for now.

Speedbooster money...

We already knew from the Raw photo conversion: Nx1 sensor by itself has extraordinary dynamic range, but it is hidden in dark area. I compare nx1 raw file conversion to Canon, Sony, Nikon, Olympus, Panas - NX1 sensor needs exclusive workflow during conversion, because it has tremendous amount of data hidden in dark area… Unfortunately, for video, we do not have such a chance to extract details from dark areas, but we have some tools to optimise shot for what we have.. I only play with 16-235 and BlackLevel: +3 +5. I prefer to keep standard picture profile in settings. Otherwise we are tending to loose beautiful colours created for us by Samsung ingeneers. And i do really love Samsung colours - simply why i moved to the system (hate millions of colour based problems i had in my live with ALL mentioned brands)… But now I’m pretty happy… One more, and simply the BEST solution: to use adequate lightning and keep ISO under 1600. For a night shots i have Samyang 24mm/1.4 + NXL, and I’m Really satisfied with: resolution and colours… NX1 DRange.mp4

Thanks Neufeldt, I appreciate that I intend to democratize the very best cinematic color; it wasn't ready for me when I was getting started. Arri's Rec709 falls short; likewise Varicam etc Paul Leeming's raison d'être is neutrality. That's definitely a good way to go

MTF Services were doing an FZ adapter for them a couple of years ago. https://www.newsshooter.com/2016/02/23/bve-2016-mtf-mounts-for-veydra-prime-lenses/ I don't see it listed on their site but it might be worth dropping them an email https://www.mtfservices.com

Right, but in that case they have a much more limited range, and you can't build a full set exclusively out of those. So any of those you can buy in DSLR mounts (which you'll need to round out your kit) then I recommend you get in Nikon F instead of MFT. (and even then.... I'm not a great fan of many of the exclusively mirrorless ones, I'd rather keep the flexibility of mounting) You could go with Veydras instead, which would allow you to jump back and forth between Sony E mount or MFT in the future.

Are you sure that you’ll be shooting MFT for a long time to come?

Yeah many people do it like this, as having a bit of noise reduction in the first node can also lead to cleaner keys.

Neat Video is THE defacto industry noise reduction plugin worth every cent they charge for it. I would rather purchase Neat Video than buy another LED light. My process is to first run an instance of Neat Video, than grade the footage, then add a very subtle instance of noise to further help with dithering. In most applications, I don't need the noise instance to help smooth out banding and artifacts because Neat Video takes care of most, if not all of it. The noise layer is mostly psychological for me because that's how I took care of business before Neat Video came along. I seriously doubt a manufacture could script a NR algorithm in-cam on the fly with the power the NV delivers.

For the banding removal mentioned earlier, when you have massive banding, it can be useful to add grain and then apply temporal noise reduction. I applied a very strong grade to one of my X-T2 F-Log clips here, to show some nasty banding (view in full size): Then I created a mask for the sky in Resolve, applied some heavy grain and then some heavy temporal noise reduction in Resolve's denoiser, and voilá. Obviously this will only work if you can mask out the problematic area and if there's no real detail there.

On Digic 4 cameras the 10bit/12bit raw mode is corrupted in full sensor mode, every other image is pink. reddeercity in ml forums is working hard to solve this problem with his 5D2. In crop mode all of the cameras are working in 10/12bit, they just need a little black level adjustment with exiftool (or maybe this is solved with the last MLV DUMP?) The secret of the 5D3 4K is not just the 10/12 bit mode but the new lossless raw compression feature. It's possibile to use 14 bit raw mode with 54% compression rate which is more effective then the 10 bit mode alone. It can be combined with 12 bit to get even smaller file sizes (or higher continous resolutions). The strange thing is with 10 bit the compression is not that effective. The downside: the live view is unusable right now if you use compression, and the recording could stop if the image information exceeds the card's max write rate. So the efficiency of the compression level is flexible. 3,5K continous recording is possibile if you are using higher ISO values (lower dynamic range, less steps in the highlights, more compression possibile) with the 5D3 such as ISO800+ The MLVFS just updated few weeks ago to handle to compressed raw The compression is an original canon feature and it could work with any camera from 5D2 through 600D but it's in the alpa stage in development right now.