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Because in this case the APSC camera is higher end while the full frame is a base model.

I'm going to make an analogy to recording music because it has already been through the democratisation (for want of a better word) process that film making is going through. This is a local band from my town making a half decent album in 1967. Great room, great mics, great mic placement. Because they'd got those aspects so right, it didn't matter anywhere near as much that they had such limited capabilities of a console like this to fix it in the mix. My phone has more recording and mixing capability than they had available there but unless I take that same approach to acquisition then I can tweak away forever without really being able to get anywhere near it. That isn't necessarily about having to have a world class room and world class mics but it does involve approaching the craft of it in the same way but also making an artistic decision about what it is you are trying to capture in the first place. The same is true for image making. I think it is great that we have the colour grading tools available to transform and even potentially rescue footage that you would ideally have shot under more controlled circumstances but I certainly hold with it being something to enhance or finesse a solid base. I actually find one of the Pocket4K's most interesting yet hardly ever discussed features is the ability to record with baked in LUTs as I think creating a virtual film stock and taking the time to learn its response inside out and making those commitments to the final vision when shooting will ultimately yield better and more consistent results over time than the time draining options of noodling around with RAW all day. To offer a parallel to this, for work I have to shoot jpeg with very limited latitude time or manipulation wise to make anything other than minor tweaks. Due to this, I have the same 'film stock' on the multiple cameras I'm using and I'm completely familiar and comfortable with how it will react to the multiple types of lighting that I have to shoot in in terms of colour balance and dynamic range, how far I can underexpose it to boost shutter speed etc so no image that comes off any of them is a surprise or a challenge to get it where it needs to be. As a consequence, images fly in and fly out with no delay, angst, analysis paralysis or regret. By contrast, if you give me a single RAW file, I can fuck about all day with it. Often with inversely proportional benefits.

As you say, it depends on your usage and what you want out of a camera. I don't feel the need for a GH5s, however if I did have the GH5s I might pine for internal ProRes and RAW. It's also not about RAW for me. I wanted to shoot ProRes because the files off both my GX80 and LS300 were driving me nuts. In my experience no edit suite can play JVC's 422 files at all, and I was also having some issues with h264 realtime playback, even if the files are untouched. I'd imagine the GH5s would give me similar results. On the same machine, I can grade the ProRes files and playback in full quality as if it's nothing. Sure you can convert the files to ProRes, but that adds a lot of time to the workflow. Yes you can also record externally, which I did on the JVC but that's more gear to carry around. For me this camera is fantastic in the field, the only thing I need to carry that the other cameras don't need is extra batteries... in fact, the same batteries I'd have used in the recorders I mentioned. Then when I get home to edit, it's like I'm dreaming. Having used it almost daily since October, I'm fairly convinced I have the best camera available for my requirements, for everyone else, that may vary.

I think it will probably work. Granted, when it comes to color, its hard to assume (measurement is often a surprise) Here is a Cine-D to VLog conversion to test it out with: http://emotivecolor.com/hlgtovlog.html?v=1.2

Accepting defeat and levitation is exactly what I've been trying to do by rising above the Brexit hysteria so you know how thats gone!

I think you meant "consolidation" rather than "consolation" as there is no consolation in this consolidation for me personally NHK have been broadcasting 8K at 120p which does offer a workable compromise if you want to maintain the 180 degree rule. There are also the main super slow mo cameras behind the goal that take that already produce fast shutter speed captures. The key to it is the additional angles that stills photographers can't produce and will actually provide some pretty compelling content. The Steadicam operator for example can get much closer to the action and isn't limited to the crap shoot of hoping the action happens where he happens to be as he can go to the action. And with the best will in the world, I'm never going to be able to levitate over the pitch to get the shots that the wire cameras can

Of course it's not, i just said it's easy to find f2.8 lenses that matches the f4 of ff which is still 'okish' dof. What really makes the GH5 specifically useful to me are two lenses that after trying different things are now keepers: Olympus pro 17mm f1.2 and the 45mm f1.2 combined with Ibis and the full manual focus on the lenses make it a everyday tool on every production. I keep a 35mm 1.4 Glied to the eva1 and have a wide and portrait equivalent of 35mm f2.4 and a 90mm 2.4 in FF terms but with 1.2 light gathering. All together a very good package.

This is the most basic and oldest color grading textbook I can think of. I must have read it six years ago. But I found it more useful than online tutorials, because of its broader focus: https://www.amazon.com/Color-Correction-Handbook-Professional-Techniques/dp/0321929667/ref=asc_df_0321929667/?tag=hyprod-20&linkCode=df0&hvadid=312091457223&hvpos=1o2&hvnetw=g&hvrand=14846167971322217554&hvpone=&hvptwo=&hvqmt=&hvdev=c&hvdvcmdl=&hvlocint=&hvlocphy=9001876&hvtargid=pla-524043500801&psc=1&tag=&ref=&adgrpid=62820903995&hvpone=&hvptwo=&hvadid=312091457223&hvpos=1o2&hvnetw=g&hvrand=14846167971322217554&hvqmt=&hvdev=c&hvdvcmdl=&hvlocint=&hvlocphy=9001876&hvtargid=pla-524043500801 I know many people here claim camera doesn't matter much if you can grade really well, but I readily admit I can't. So for me I think camera matters more. And I think there are things you can do with LUTs that are difficult to do without them. Light Iron and CO3 both have proprietary LUTs. That's the smaller part of what makes those places as good as they are, and they work they do really is fantastic. But I think it's still a factor. Anyhow, I highly recommend the book.

@BTM_Pix ... interesting analogy. That band sounds pretty cool... what do they call themselves? I always forget that you can bake LUTS with the P4K. If I was a smarter person I’d probably buy one but I still think 1080p video is going to make a comeback. It’s funny, my best results with color has been using the guided color correction tool in Colorista IV. With some saturation and an s-curve, I’ve received my biggest compliments. Anytime I try to sit down and watch tutorials and learn the proper way... eg. left to my own devices... I spend hours and get worse results. So I agree that it’s great that the tools are available but to master even one discipline in filmmaking is a life long endeavor let alone every single craft.

...and Nikon goes from "buy Nikon lenses--you can adapt them to any camera!" to "buy Nikon cameras--you can use any lenses!"

Love the push is Nikon doing for this 2019... Raw Hdmi output, more body for different budgets. The only thing that is weird for me is the D5700. Imho i't does't make much sense to launch a new "DSLR" style for the lower market, because in general the entry level user looks for the more "practical" features and easy to use. New shooters are in general younger people, and they come from using their phones or some type of hybrid camera. I Think they should aim to a Aps-c mirrorless like the m50, cheap but more prosumer and better build. The DSLR market are more the old professionals, the people with experience that still like the mirror system. i don't know, is the way i see it.

I believe it best to capture the footage as close to the final output as possible. Granted I’ve done some pretty heavy handed stuff. But usually this is so I can understand the limitations of the footage. When I find looks that work I’ll save them as presets for my edits. That way I can have consistency as I switch from angle to angle in my multi-cam shoots. In order to make certain this works you need to have the cameras setup so that they are easy to match in post. I control lighting and manually set everything. I just about have everything to where I want it now. But honestly it’s been a long time getting here. Grading is an important part of the project to me. But with thoughtful planning it does not need to be painful.

Being an ML Raw shooter, I can say that the MLVApp is pretty awesome and I think I have an older version. The LogC curve conversion alone is worth its weight in gold in my opinion. It’s pretty insane what is possible with the basic nightly builds of ML Raw. I’ve never tried any type of uprezzing but after seeing that video, I am definitely intrigued. I think even a simple 1080p to 2.5K could be a nice POP. Takumars are great lenses and are so cheap. Some have the radioactive yellowing issue, so be diligent about what you buy. Pentax made a replacement line of SMC lenses in the K Mount shortly after the Takumars and what’s interesting about them is that they used the same optical formulas without the Thorium glass, so the same 50mm 1.4 doesn’t have the yellowing issues that the Takumar has.

I could film some stuff for you this weekend. Let me know what you'd like to see. The Dual ISO is incredible. I used to use ISO only if my lens couldn't open up any further and I couldn't add lights. Now I can use it to keep my iris exactly how I want it no matter the circumstances

Interesting poll and discussion. I struggle with color... both in theory and practice. I’ve always been a tinkerer and with most things in life, I can figure it out but color correction/grading has eluded my tinkering ways. It is an art, and a craft. And the folks who are really great at it are either naturals or well trained. There are so many facets to the craft that out of respect for it, and the people that take the time to perfect their craft, I hate even referring to myself as a hobbyist colorist. I can only speak for myself, but I find the most difficult part of color work to be correction. That portion of the craft can make or break the acquisition phase and the grading phase. There is such a symbiotic relationship that it does make sense that shooters are also coloring their own work but traditionally and professionally that is not the case. I’m guilty of it myself, but I think mistakes in the acquisition phase can make color correction/grading more difficult than it needs to be... For instance, most shooters, in most situations, do not need Log footage, or 10bit video, but they use it anyway because they want more latitude... because somewhere, someone told them they needed it. Proper exposure for 8 or 10 stops of dynamic range is difficult enough, when you start adding 3 or 5 more stops of DR with a Log curve you are entering a different level of skill set and understanding of Log Curves that could be more detrimental than just shooting with a flat Rec709 profile and keeping your color work more basic. I have not shot in every scenario possible but with my basic understanding of shooting, most situations can be properly shot with 8-10 stops of DR. So if that’s the case, why shoot with a Log curve designed for 12 or more? I’ve personally found 10-12 stops to be a good sweet spot for the type of image I am looking for. If I was a Hollywood DP, I’m sure I could justify 15-18 stops. I guess what I’m trying to say is... like most things in life, less is more in most instances. So in summation, this is a learning process and as I learn I realize what I don’t know and more importantly what I don’t need. But color grading is fun and I wish I were better at it.

There is hardly Anything that goes wrong with a C100, C300. They are built for the long haul. Now the Sony PMW F3 has a Lot of troubles with the EVF on them breaking. The EVF on the F3 and the mk I C100 is not a lot to write home to mother about anyways to be honest. The C100 mk II and the C300 are pretty good. Now there is a rubber thingy called a C Cup that helps the C100 mk I EVF a lot. Like 30 bucks. It is built like a tank. But does not help with the EVF not swiveling like the mk II.

In that video, it seemed like the ISOs didn't match very well between the GH5s and the BMPCC4K at the lower end. It seemed like up to around 6400 the BM was darker. Also, his brightness levels as he changed ISOs was all over the place. In my casual testing, my GH5s cameras seem to be a fair bit less noisy at the same ISO settings than my P4Ks. I will have to revisit this on my cameras after seeing his video. This most surprising thing that I have found after getting the P4Ks is that they don't fit my bags. I am having to completely rethink my bags and storage systems to fit the P4K cameras The added width really does make a big difference in this regard.

Here was my very first try with a B4 on my AF100. Hard to get it to zoom or focus smoothly on a cheaper tripod LoL. The servo didn't work on it, so I had to zoom manually. I only paid 150 dollars for it at Adorama. You are talking a Crazy zoom range. Like up to a 37- 960mm I think with that 19x lens. But they are really sharp and parafocal, and really fast, mine was a f1.7 through the Entire range, crazy. But you loose 2 stops because of the 2x TC which you always have to have engaged..

Think I might be getting the ones from the BEHORSE store on Ali ~ https://www.aliexpress.com/store/product/New-Optional-OSMO-Pocket-Lens-Filter-Kit-Accessories-ND4-8-16-32-64-PL-CPL-UV/237708_32962997409.html Those are the 'Sunnylife' ones that claim imported German glass (Schott) as well (like some of the regular camera lens Zomei filters used to say). These Polar Pros are probably the most legit: https://www.polarprofilters.com/collections/osmo-pocket-filters-accessories and also the priciest, lol. Looking forward to be puting my OsPo to use in Cape Town, SA next week!

LOL! I read an interesting book called Visions by Michio Kaku and one of the things he talked about was where we are in our evolution as a civilisation. According to The Kardashev scale, which is a system to categorise civilisations: Michio Kaku argued that we are actually a Type 0 civilisation going through the rough transition to become a Type 1 civilisation. He said that everything you read about in the newspaper and all the significant aspects of the news are related to this process. He mentioned things like the internet being a Type 1 civilisation telephone and data network, globalisation as being a Type 1 civilisation economic forum, etc. This creates enormous change within society, especially considering the difference between how culturally isolated the pre-baby boomer and baby boomer generations were growing up and how completely not isolated they are now from a large spectrum of languages, cultures, religions, and races. Growing up, everyone looked like them, talked like them, valued what they valued, etc. When things change too fast people resist and want to wind back the clock, which is what has caused things like Brexit, the rise of nationalist political parties, ISIS, etc. Those who are old enough will remember that terrorists didn't used to be called terrorists - they used to mainly be called 'separatists' because they were people wanting to remain separate - to not mix with other people who were different/inferior to them. In short, we're being forced to learn to get along, and most people don't like it and want to just make the people they don't like go away. Personally, the UK has a special place in my heart because they made a nice place to live by stealing wealth from other countries, and are now shocked (SHOCKED!!) that those people want to move to the UK and enjoy it too.

It's not a real speedbooster but some chinese crap, the first copy that came out that had bad coatings and gives a blue point in the center when shooting against the sun. The only way to have a good speedbooster on the eos m is to modify a e mount speedbooster and combine it with a ef-efm adapter, this will give you full ef compatibility. They made some of those hacks in Korea, not shure if they still do it.

Cool. Sadly, there are a lot of people running around thinking the 12-35 f2.8 is the same as a 24-70 f2.8 Canon L lens. I run my GH5 with the Voigtlander 17.5mm f0.95 on by default, an SLR Magic 8mm f4 for getting those 'wow' landscapes or interior shots, and am still working out my options for the 80-120mm equivalent length (in the running are a few 50/55/58mm lenses from Minolta, Pentax, and Helios), and also the options for sports lenses. On my trip I used the 17.5mm maybe 80% of the time, the 8mm maybe 10% and the 58mm the other 10% of the time. The right trio of lenses and you're ready to just work and get shots, it's great when the gear gets out of the way like that.

Hague are a UK company that make a wide range of internal and external camera mounting gear for car shooting at reasonable prices. Nice people too. https://www.cameragrip.com/camera-car-mounts-suction-pads/

I've seen good on-set camerawork totally ruined by terrible color grading, and mediocre work absolutely salvaged by a good, high effort grade. I've seen both happen to my footage and to the footage of other people. Nowadays I grade most of my work myself after a series of cases where the final graded footage looked way worse than what I had on my simple single LUT monitoring (due to being handed over to editors not experienced in grading). I would still like to do way better myself - after years with Resolve there are tons of things I'm still learning. Good color grading is absolutely essential in this day and age, at least on cinematic footage shot on LOG or RAW.

Yes, yes, yes!

Mine cost me more than that to be fair and as it has now developed a sticky shutter issue that makes it borderline beyond economic repair then I suppose I do by default now own a mirrorless full frame Nikon albeit an HD one ! I suppose I am guilty of having an outdated price perception threshold in my head of anything north of £3K being the realm of pro workhorse cameras and of MFT cameras topping out at £1K. A loaf of bread is still 2 shillings and sixpence though, right?

Ok. So I fell for the Hydrogen hype. And perhaps the 2d camera module will be superb. So final judgement suspended. RED have released a screen protector for Hydrogen. It costs $40. Tax is extra (shipping to UK is rumoured to be an additional $50 but that’s irrelevant). I posted (on h4v) that the price was “interesting” (given the razer phone one fits perfectly well and cost me a fraction of the $40. For two.) Outrage. And the best defence to date is that the RED one has “high transparency”! Yes, folks, it’s see-through. I’m starting to look in the mirror and ask whether I look stupid. But once the module is released all will be wonderful and I’ll have roses growing in my drive. $40...

I really have no doubt the A7000 will be a beast(would be shocked if it wasn't better than the XT3 in terms of specs). One of the reasons I said the sensor as I think that is where the slow readout/RS came from. I am not tech savy enough to know. If it was a processor issue it seems like the A6400 wouldn't have the issue anymore as the A9 processor should be fast enough to handle anything you can throw at it.

No, we suspect many of the posters there eat vegan sausage rolls and as a nation we hate that shit.

i'm a long way away from england and the eu. but i'm struggling to find a link between the average iq of dpreview forum members and britex ....maybe thats why britain wants out too many dpreview members in the eu perhaps ? i like your dad ? here in aus, we are not even allowed to play with fire crackers anymore to have a cannon would be tremendous fun?

Yeah no one is going to know the difference between HQ HD upscaled to 4k. I've been saying this for a long time but if 2k is good enough to project on a theater screen, than its good enough for anyone's home screen. You lose the ability to crop in post and all that but I do think the C100 or C100 MK2 or C300 are great deals used. If I wasn't already 3 cameras and 4 lenses into Fuji products I'd be getting a C100 MK2 and C300 used.

Good suggestion (and yes I have a bunch of eye-fi cards gathering dust on my shelf for exactly the reason you mention.) Someone has just released an ios app for the A7 - Camrote - which claims to do RAW transfer via wifi (as well as provide an intervalometer.) Unfortunately it doesnt seem to work!

Being astonished how it is possible to make so wildly uncontrolled and non-professional test about topic and some questions aroused from this thread - and still called yourself professional...

I've been playing with these new ML settings the past few days, pretty cool. Not sure its really fair to call it 4k or 5k, since its really shooting 1/3 of the Horizontal lines and then desqueezing at the end, basically anamorphic without the anamorphic lens. And lots of rolling shutter. But still a very nice image, and for $160 (what I paid for my camera recently) insane deal.

Its a great stills camera if you don't mind the color. I am talking video. Apparently over the course of three cameras they haven't improved at all. Not sure if its the sensor or Sony just doesn't care but either way its shitty. You have a choice between soft moire filled 1080p or Jello 4k. The 4k is great quality super detailed image good dynamic range. However the jello is really terrible. Plus I like to use 60p a lot and the HD is just bad. If the sensor cripples 4k at 39ms RS, why even bother. Then keeping it on over three cameras just makes it ever more irritating. The XT2 seemed to have a similar sensor, ignoring color the detail and low light performance was very similar, yet the rolling shutter and 1080p was quite good. Why couldn't Sony do it right? Anyways I am not saying you can't make good content with it. I am just hating on the camera, because it pisses me off. The A7III, A7S, and A7RIII were fantastic though.

Good eye, Kye. This morning I had a look at those clips and realized I had Sharpening turned up to 25 in the Raw Panel. I usually leave it at the 10 default setting. After our discussion, I decided to process the clips through the MLVApp to ProRes and have a stab at them in FCPX. I think this one turned out nicer... Carl Zeiss 25mm f/2.8

A7III Pros: - better autofocus - better low-light - better dynamic range - lighter body - larger full-frame sensor(for shallower DOF) GH5 Pros: - 10bit 4:2:2 codecs - ALL-I codecs - 4k DCI - anamorphic modes (open gate 5k) - anamorphic de-squeeze - load 4 custom luts for v-log l preview - better IBIS - lighter lenses - 4k 60fps - 1080 180fps - variable frame rates - waveform & vectorscope - smaller m4/3 sensor (deeper DOF for same aperture) - full-size HDMI port - syncro scan - less rolling shutter - fully articulating touchscreen - Lots of factors here and m43 can do a lot with DOF as well. m43 can use a focal reducer which makes it more like a APS-C sensor size in terms of DOF. You are now only one stop away from the same DOF as FF. Shoot f4 comfortably on FF? Well f2.8 is pretty easy to get on m43 even with zoom lenses and can easily match the DOF of FF. This is again such a non issue unless you insist on having razor thin DOF from FF by shooting 50mm f1.2. Optically not the best solution and almost impossible to focus with for serious production work where clients pay you. It honestly only takes a sliver of extra effort to achieve similar DOF on m43. Can't replicate every situation but the importance is much less significant than you think it is. Plus very few Hollywood movies actually use that shallow of DOF. They shoot s35mm (close to APS-C size) and not FF and they tend to stop down their lenses to f4 or f5.6. Extremely easy to match that on m43 and even easier once you add a Speedbooster which essentially makes the GH5 an exact match to s35mm size sensors. On the GH5s using a Speedbooster XL gets you around a 1.2x crop which is half way between APS-C and FF so not a huge difference in terms of DOF. The exelent IBIS, strong codec, robust build quality, great film maker ergonomics, 40k 60p and full size HDMI makes it feel like a more profesional camera then the whole a7 serie. I owned both but choose to keep the GH5 and sell the A7s. Also used the A7s MII allot. I sometimes miss the full frame aspect, but not to much. I don't miss any DR since I think the Slog3 and Slog2 is unusable in the A7 serie for the weak codec. So I actually feel the GH5 has more DR since the robust codec let's you play around with the levels better.

This is far and away the best thread we have had on EOSHD in a LONG time. Serious!!!

The last I saw on Canon rumors was about a month or two ago and they hinted at a March announcement. The original rumors stated they were going to use the ef-m mount but now he heard that they may use the rf... I’d rather have an ef mount to be honest. Sorry I don’t have the time to find the last rumor right now.

Well like my car dealership friend used to say, "There is an ass for every seat".

This guy is a parody news reporter but sums the lunacy of the situation up. Increasingly, the real news reporters are getting so exasperated dealing with the politicians over this absolute catastrofuck that a few of them are on the point of similar rants.

This video looks quite nice.

ND review for the Osmo Pocket. https://www.newsshooter.com/2019/01/17/pgytech-osmo-pocket-pro-filters-review/

Okay, let's be honest, this thing is huge, weighs a ton (3 kg), is not sharp and focuses at a minimum of around 6 meters. But if I hadn't bought that a year ago "for fun", I would have never followed anamorphic stuff. (The thing is crazy cheap, I'd say just the glass & metal to build this beast are worth more :p) I think it is a good test for anyone willing to use anamorphics, you need A LOT of motivation to shoot with it ! As I just got my Isco Ultra-Star (blue star) after playing with the LOMO, I thought I might put a small video as it may be the last time I use the lomo for anything else than a paperweight. (Oh, and the middle brass part of the isco is a pain to unscrew, did not manage to yet :s) A picture of the setup, just for laughs

Its a combination of a few different elements of that. Exclusivity of event access given to certain agencies would be one aspect of it and in cases where that isn't the official case it is becoming the de-facto one by virtue of a combination of preferential pre-allocated positioning and the number of accreditations granted. So if you take football as an example, a small agency would be given one accreditation and have to take their chances where they are positioned and cross their fingers the most important action of the event happens where they are sat while the larger agency are able to cover the entire field from four or five positions guaranteeing they get the shot. Subscription based distribution of images favoured by those agencies also means that per image payments are becoming rarer as its so much easier and cheaper for a newspaper to illustrate a story with any number of images as part of their subscription plan than it is to deal with individual payments per image. If you combine both of those factors then it becomes economically unviable for a lot of agencies and photographers to cover events so where you might have had a typical match with, for example, 30-40 photographers covering it then even if you have two agencies with subscription models and multiple photographers at it the opportunities to earn a worthwhile sum is reduced to a very small amount for half of them. When the market opportunity for the images to be able to be sold into gets reduced to that extent then so does the market for the purchase of the gear to make those images, hence why I'm bewildered by Sony getting involved for anything other than vanity or completeness purposes in it. These agencies also have direct deals with the clubs themselves which also severely limits the opportunity to sell images from aspects outside of the 90 minutes such as training sessions and press conferences both by price (because again, these images are "free" for publications who have all you can eat subscriptions) and also by virtue of them having enhanced access to the stadium and the players. The same agencies also have deals with the organising associations of the tournaments so its a short hop to tie the whole thing together into a deal to being the official and exclusive supplier of images. Its worth bearing in mind that as with any editorial content, in sports photography it is often the most controversial images that will earn the biggest fees through syndication bolstered by exclusivity. Very often of course those images would be considered 'off brand' for players, clubs and organising associations so control of the brand image though exclusivity of access is also a powerful driver for this change. And then you get on to the TV rights holders who are paying literally billions of pounds to broadcast the events and who are also very keen on protecting and polishing the brand as well. If there is a fight in the crowd at a football match or a streaker runs on the pitch etc then you are very unlikely to see that on your TV screen as the broadcasters choose what goes out so it irks them that photographers (who pay zero of course to cover the event) don't also turn their lenses away from a disturbance but are very much likely to turn their full attention towards it and start firing away. With the super fast distribution of still images from pitch side these days those unfiltered scenes can be on newspaper sites unhindered within a minute and be damaging the 'brand'. Taking all of that into account leads to a logical conclusion that TV rights holders will eventually do a deal with a large agency to give them live access to the TV images for frame extraction and editing (transmission of out of camera images to remote editors is already standard practice anyway) as soon as the image quality is there. Will the pictures suffer ? Yes and no. The TV companies have the best coverage positions and quantity of coverage of anyone in the stadium so they can produce arguably more interesting content anyway. What you will lose is the individual aspect of choice with which a photographer will create the image as you will be stuck with making something out of what you are given so if the TV framing of a piece of action is wide then so will your 'picture' of it and if its in tight then so will your version of it be as well whereas you might well have chosen to do the exact opposite in both cases. One thing that will also advance its introduction in football at least is the phasing in of the VAR video refereeing decision system which is used for supporting or overturning decisions made by the on field referee. As these are normally the contentious and hence newsworthy incidents such as was it a penalty, was he offside etc, the images from the numerous cameras that the system uses arguably capture the peak moments of action and frame extracts are increasingly being used by newspapers to illustrate them with. I'm going to give the whole thing probably three or four years tops (particularly in light of the 8K at the Tokyo Olympics) before the balance tips, which is why I've wound down my involvement in it virtually completely in the past six month.

Shooting in HLG (I prefer HLG3) is great for creation of HLG videos but as already mentioned on SDR TV it looks dull. I was searching for a LUT too that transforms bt.2020 back to bt.709 keeping highlights/color as good as possible. If you are searching for a technical LUT I suppose this is what you mean? As I was not successful I created LUTs myself. On my website http://www.famoss.de you can download and test it. It should work for every HLG capable camera. The test LUT is free for use. I created it based on footage of my Alpha 7mk3. Good luck!

Friendly advice - but hardly it doesn't already in your mind: stay with Voigtlanders of choice, because you'll always come back to them after excursion in the realm of vintage lenses (Voigts have best combination of vintage/clear-modern traits). Than, slowly spare money for Fujinon MK zoom (or best Leica R zoom with speedbooster 28-90 - zeiss contax 28-85 as cheap alternative): firstly, it is much better to make dreaming for perfection longer, and secondly, your kind of commitment simply deserves and logically aims just for the best (still inside of the boundaries of achievable).

So, I took a drive yesterday in the cold to do a test of a few lenses... the Nikkor 24mm f/2 vs the Carl Zeiss 25mm f/2.8 in the Rollei QBM mount. Here are the results... Nikkor 24mm f/2 Carl Zeiss 25mm f/2.8 I found the speed of the Nikkor to be pretty helpful considering that that shot was taken about 10 minutes after the Zeiss shot, but there is just something about that cold Zeiss look that has a definite pop to it that seems more cinematic... maybe it's in my head? Full disclosure... I didn't attempt to match these images, I just did a basic Rec709 conversion and a little bit of curves and saturation. Also I am still using my MacBook Air screen for all of this preliminary color work and lens tests. I'm in the process of deciding on a monitor upgrade... so these may look like crap compared to what I am seeing in Resolve... oh the fun of hobbyist color work... lol.

You can refer my method.